Directed by James Cox
Starring – Ansel Elgort, Taron Egerton, Kevin Spacey
The Plot – A modern day remake of the 1987 film by the same name, the film is about A group of wealthy boys in Los Angeles during the early 1980s, who establish a ‘get-rich-quick’ scam that turns deadly.
Rated R for adult language throughout, drug use, some violence and sexual content
– If there’s any reason to see this film, it’s for Spacey’s energetic delivery as the film’s most experienced con-man. While it definitely makes me shudder to say anything complimentary of Kevin, it goes without saying that this film is enhanced whenever he enters the room, and flounders whenever he disappears. As for the rest, Elgort is terribly miscast, Egerton is failing at his best Leonardo Dicaprio impression, and Emma Roberts is completely phoning in what little material the script has for her.
– Hip 80’s soundtrack. ‘Only You’ by Yazoo is one of my personal favorite new wave favorites, but when it is presented on the same collection with Talking Heads ‘This Must Be the Place’, as well as ‘Let’s Dance’ by David Bowie, you have one of the very best assorted soundtracks in 2018. I couldn’t wait to hear what popped up next, and it’s clear that music has a very pivotal place in Cox re-imagining of this world.
– No expense spared on production aspects. The fashion trends, cars, and neon landscapes do an excellent job of elevating the important details, both big and small, giving life to the pulse of Los Angeles terrifically. This at least allowed the time period of the story to thrive visually, while almost every other aspect of the movie never lived up.
– Informative, tightly-edited 80’s montage sequences that translate the very vibe of the times. If the feature film world falters for Cox eventually, he has a place in visual storytelling in the eye of documentaries, because these instances are magnetic.
– As an adaptation of the real life events, this barely scratches the surface. The film greatly lacks the attention that is needed in depicting the transformation of Joe’s character over time with the influence of corporate greed, and truly makes him a roarschach test when it comes to gauging his reactions to the inevitable downturn that his company takes. Beyond this, subplots and character habits feel like they come out of nowhere, making this feel like a film that is cut in half, with the deleted half catering to those important bits of information.
– Doesn’t bother with backstory or character development, breezing through the first act like an afterthought. Most importantly, the friendship between Joe and Dean never feels fleshed out enough, leaving a vital bond to the story on the cutting room floor. Because of such, the third act greatly lacks the kind of impact that it so desperately yearned for.
– Tries to capitalize on the exuberance and seediness with greed that a film like ‘The Wolf of Wall Street’ tapped into effortlessly. There are plenty of instances when this feels like the Redbox version of such mentioned feats, even so much as mirroring much of Wolf’s first act scenes and situations beat-for-beat, but continuously lacking the appeal in intimate details necessary to engage the audience in its schemes. Because of this, nothing in the film ever felt believable or gripping to me, and constantly gave me the overwhelming feeling that I was one-up on the intelligence factor over investors of the 80’s.
– Undercooked love interest in the film. Because every film in 2018 requires a love story, we get one here as well, and it lacks the chemistry and conviction between Elgort and Roberts for audiences to believe it. As opposed to the lack of time devoted to the friendship of Elgort and Egerton, the love subplot is given plenty of time to prosper, but simmers because of the lack of bond that never develops with time.
– Pointless voice-over narration. It is (Once again) pointless in its usage, and more importantly adds nothing to the storytelling that we as an audience can’t already interpret. You could literally close your eyes and just listen to the obvious narration, and you will have a clear vision for what is transpiring on-screen. As if you needed another reason to not watch this film.
– Abrupt, un-satisfying ending. It feels like the film is just getting going when it’s ready to say goodbye, and it makes the mistake where it tells but doesn’t show what happens to those guilty of everything that takes place in the film. The most fascinating angles of this story are those that take place off-screen, and it’s the final nail in the coffin for a story that was told so much better on a 45 minute Youtube documentary that I watched before it.