A couple of friends decide to pull of the perfect heist. They are going to steal $12m worth of books from their college library. They watch heist movies and plot the plans, ranging from choosing disguises to organising a fencing deal to get rid of the loot. The movie echoes titbits of Heist classics ranging from Ocean’s 11 to Catch Me If You Can to Reservoir Dogs.
Mildred Hayes’ teenage daughter was recently raped and murdered in the small town of Ebbing, Missouri. She now brings up her son alone and becomes frustrated at the local police department’s lack of progress into the investigation of her daughter’s brutal death. Spotting a trio of unused roadside billboards on a quiet road in the town, she hits on the idea of renting them and keeping the case in the public eye by using advertisements to accuse local chief of police chief of neglecting the investigation.
The best thing about this movie is the opening scene. We meet Hercule Poirot and his unique personality, and moustache in the middle of avoiding a religious war at Jerusalem’s Wailing Wall, and things are off to a great start. The story flows and so does the action, and before we know it, we find ourselves along with Poirot on the Orient Express from Istanbul to London.
When Jimmy is made redundant from his tunnelling job and needs money quickly to hire a lawyer to help him with a custody dispute over his young daughter Sadie, he comes up with a scheme to rob the cash-rich vault of the nearby Nascar racing track where he has been working. To access the safe they need the skills of Joe Bang (played by Daniel Craig), who is currently incarcerated in the local prison, who brings into the gang his redneck brothers, who are no criminal masterminds.
Wind River is no Hollywood crime thriller. The plot has some genuinely unexpected turns and the acting is fine, but the star is really the mountain landscape, which is striking beautiful yet clearly dangerous. As the main character says: “Luck is for those in the city; here you either survive or surrender.”
English director Edgar Wright’s latest and most successful film to date is Baby Driver, which plays fairly straight as a heist movie. Ansel Elgort plays the eponymous “Baby”, a youthful, introverted but preternaturally talented getaway driver who works for criminal big-shot “Doc” (a sauve but occasionally menacing Kevin Spacey), who plans assorted bank robberies and recruits a revolving gang of thugs to carry them out, always with Baby as the driver…
You can envision the pitch to the studio now: “like Jason Bourne, but with an autistic accountant.” It is tough to make an engaging movie about autism without Dustin Hoffmann, more so about an accountant. So it is fortunate that the main character is a dab hand at martial arts and high calibre weapons as well as being a whiz with figures.
Never Go Back has very little going for it. With an utterly unremarkable script at the core, and not helped by the directing, cinematography, music or acting, this is a disappointing fail for Cruise, who also produced the movie. Let’s hope he never goes back to Reacher, it’s not worth it.
A punk-rock band, The Ain’t Rights, aren’t particularly successful, and if they can even get a gig, they still don’t get much of an audience it seems… So when they get a last minute booking somewhere in the Oregon woods to play for a bunch of skinheads, they accept it as it may bring in some cash at least.
Three teenage kids break into a house in a desolate part of Detroit, where they believe they will find a safe full of money. Rocky (Jane Levy) hopes this money will give her a way out of her desperate home situation; and Alex (Dylan Minette) is nurturing his not-so-secret crush on Rocky; and Money (Daniel Zovatto) is in it, well, for the money. This should be an easy target: Dylan steals the house keys from his father’s security business, and the home owner is a blind man…