The plot: Las Vegas cop Vincent Downs (Jamie Foxx), after a
botched undercover operation, discovers that his son Thomas (Octavius J.
Johnson) has been kidnapped by casino owner Stanley Rubino (Dermot Mulroney).
The release conditions are simple: Vincent has to return a delivery of drugs
that he and his partner Sean Cass (T.I.) stole during the operation. As Vincent
sets out to get his son back, Internal Affairs officers Bryant (Michelle
Monaghan) and Dennison (David Harbour) are on his trail as part of a continuing
investigation into corruption in the Vegas police force.
Foxx nails the crazed and flustered cop he’s given, and as
the film stretches on and tasks him to be more intense, he certainly delivers.
Hell, this more hard-edged side of him ultimately makes up for how this isn’t
the charisma fountain Jamie Foxx we’re used to seeing. T.I. as his partner, on
the other hand? The guy usually gets cast as gangstas and that area of
experience shows in how uncomfortable he looks in the character’s skin. Johnson
as T is given two tasks on-screen: Be held hostage or get thrown around in the
action scenes. He does perfectly fine in that role, but it’s not as if it’s the
most taxing character to bring to the screen.
Monaghan, while her character continues to say “fuck you” to
due process of law, is at the best she’s been in years with this one. Her sheer
intensity on-screen combined with an understanding of how to wield her
character dimensions make for a very engaging performance, even outdoing Foxx
in a particularly tense scene. David Harbour as her partner also gets to flex
some more thrilling muscle, selling the action scenes like a pro while bringing
buckets full of intimidation to his every moment on screen. Honestly, the
biggest low points in the cast are with the two main villains. Scoot McNairy as
the on-edge drug runner Rob Novak gets a couple moments to show that he’s not
to be messed with, but both he and Mulroney end up being far less interesting
than everyone else here. Hell, even Eli Everett’s minor role as a bathroom
attendant left a bigger impression than either of the main bad guys.
The acting being as solid as it is turns out to be an even
larger saving grace for the film than it should be, given how we’re dealing
with an extremely clichéd story. Rescuing kidnapped family members, forced to
work with the villain to get them back, manoeuvring around the police as it’s
unclear on who can be trusted; this is all very familiar stuff. I’ve repeatedly
said in the past that originality should come in second place to competence, so
retold stories aren’t the immediate problem. The problem comes in once it hits
how to-the-letter these clichés run, to the point where the film doesn’t even
bother hiding a good deal of them. And even then, the plot twists it tries to
pull over the audience are embarrassingly obvious.
Then again, trying to be one
step ahead of the audience is a tough ask when the characters apparently keep
three steps behind both the audience and common bleeding sense. It can get
pretty ridiculous how much of the plot depends on these experienced police
officers and career criminals making such amateur mistakes, up to and including
the colossal mess-up in the opening scene that reveals Vincent’s identity to
the enemy which sets the rest of the plot in motion. Because of all this,
whenever the film tries to be dramatic or thrilling, it doesn’t have the pacing
or the depth to pull it off.
What makes that statement feel even weirder is that, when it
gets to the action scenes, this film can get rather fun. It keeps a decent
variety to the type of action we get, from fist fights to gun fights to car
chases to Venn diagrams covering all three, all of which benefits from director
Baran bo Odar sticking to practical effects for a lot of this. When cars crash
all over the place or Vincent throws down with the henchman with the caveman
brow, it feels like actual impact has been made and the excitement sets in.
Sure, some of it is hampered by DOP Mihai Mălaimare Jr. reusing 90-degree
camera spins, but when things are kept stable, it works.
It also gets pretty
inventive in places, like Vincent fighting off goons in the casino kitchen or
giving us one of the better indoor car scenes I can recall. Knowing
how strictly a lot of action flicks stick to the formula, most of them rely on
their set pieces to break from the pack. Well, while this doesn’t exactly
reinvent the wheel, it certainly keeps things interesting, and even when the
plot hits its lulls, it manages to stay engaging.
All in all, it may not be the most vital experience in the
world but it’s most definitely serviceable. The actors bring a lot of simmering
intensity to their underwritten roles, the action scenes benefit from an
emphasis on tangible carnage as opposed to near-constant CGI, both of which end
up compensating for the tried-and-tested action-thriller formula, complete with
an abundance of cop flick clichés. If you’re in the mood for some popcorn
action fluff, particularly something with Jamie Foxx involved, I’d say it’s
worth checking out. This may be a mildly forgettable effort but I’m pretty
positive that it will end up aging better than Baby Driver. At least rewatching
this doesn’t involve looking at the face of a complete dumpster fire of a human
being… yet. With all the allegations from this year, I wouldn’t be surprised if
someone from this was included; what a fucking sad state we’re in.
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