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How entertaining? ★★☆☆☆
Thought provoking? ★☆☆☆☆ 19 August 2014
This article is a review of LIFE OF CRIME.
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“She’s the other trophy in my life,” Frank Dawson (Tim Robbins) about wife Mickey (Jennifer Aniston)
LIFE OF CRIME induces non-feelings: Right dead in the centre of the spectrum from elation to vitriol. Felony flick as moderately threatening afternoon television drama, populated by a classy cast frittered away, is what we are gifted. In no way are we in peak Elmore Leonard adaptation territory: OUT OF SIGHT or JACKIE BROWN.
Being 1978, though seemingly sans budget to authenticate, means the filmmakers have shoved the audience together with the protagonists in cheaply designed rooms. Throwing in obvious musical choices to attempt some kind of time stamp compounds the air of scrimping. Kidnap is the order of the day. Even when one of the crims is played by John Hawkes (in DEADWOOD gent mode, as opposed to WINTER'S BONE maniac), and the vic is Jennifer Aniston, somehow only a modicum of chemistry can be mustered. Forget equalling the George Clooney-Jennifer Lopez electricity.
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Louis Gara (Hawkes) and Ordell Robbie (Mos Def) are down and out in Detroit, and fixate upon Tim Robbins' local business bigwig, Frank, who is less than salubrious himself. Kidnap and ransoming of bland wife Mickey (Aniston), for $1 million, is the plan.
Crossing, double-crossing and slights of hand are meant to elicit excitement, but their unfolding is yawn-inducing. Ineptitude of course rears its head as obvious planning shortcomings arise - though it is not quite funny enough. Opening on running over a belligerent (stereotypical) pimp, twice, meant to warm us up to Louis and Ordell, induces a shrug. Only Will Forte's spineless suitor, Marshall Taylor, gives the narrative a much needed surprise element. Apart from SONS OF ANARCHY's Mark Boone Junior, and Robbins’ slimy philanderer, there are no real characters to gnash your teeth at; and likewise, and more importantly, no one to really care about.
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Wearing a President Nixon mask in the act of illegality is weak stuff, having been employed to braggadocio effect in POINT BREAK, “I’m not a crook!” exclaimed as a bank is turned over. It typifies the lack of invention or defining imagery/ideas. At few points is the pulse quickened. Biting domestic poison meets abduction thriller might have been grappled for, THE ICE STORM meets THE DISAPPEARANCE OF ALICE CREED if you will, though it was not to be.
LIFE OR CRIME is neither witty nor sinister enough.
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