Where Sleeping Dogs Lie (2019)


Thick as thieves.

 (2019) Crime Drama (1091Jesse Janzen, Dustin Miller, Tommy Koponen, David J. Espinosa, Jillian Rohrbach, Brett Rickaby, Atim Udoffia, D. Brad St. Cyr, Jeanne Young, Bobby Real, Courtney Conklin, Stacey Hall, Tyler McDaniel, Doug O’Neill, DeeDee Avert, Brian Barnes, Robyn Colburn, David Jon Foster, Christa Hewitt, Michelle Kuret, Melinda Rayne, Bunny Stewart. Directed by Josh Pierson

 

They say crime doesn’t pay, but you couldn’t prove that from the movies. For every Dog Day Afternoon there’s a The Sting. No, if you are a movie buff, the message you’re likely to get is that when in need of quick cash your most effective option is a criminal act.

Jeff (Janzen) finds himself in just that position. He owes the local crime boss – incongruously named Bunny (Udoffia) – more than 100 grand, and having just gotten out of the joint, he doesn’t have that kind of scratch on him. However, he’s been boinking the sexy blonde wife (Rohrbach) of a crooked land developer named Bob (Espinosa, the poor man’s Dennis Farina) and the two are in the process of divorcing. Tracy (the said sexy blonde soon-to-be ex-wife) is positive that Bob has hidden some of his assets – a half a million dollars’ worth – in the house in cash so that he doesn’t have to pay it to Tracy. Jeff hits upon the idea of robbing Bob and paying off his debt.

He enlists the help of his brother Barry (Miller) and best friend Tim (Koponen), convincing them that the job will be an easy one, in and out and nobody getting hurt. Of course, you know that’s not going to happen. Bob turns out to be home unexpectedly and the cash? Nowhere to be found. Now it turns into a test of will; how badly does Jeff want the money and how far is he willing to go to get it. For Bob, it’s how much is he willing to take to keep it. Which one will emerge on top?

This is one of those movies where the director wears his heart on his sleeve. You can tell what kind of movie he wants to make – a smart, sexy caper comedy with snappy dialogue and humor that doesn’t lie in one-liners but in bizarre and outlandish situations. He wants this to be high octane with not much time spent on exposition, so much of that is done via flashback.

The problem with inserting flashbacks into a film is flow. Caper comedies, particularly, need good flow and that’s not easy to achieve. The problem here could be in editing, but I don’t think it was – I think it was in preparation. You need to know what your film looks like before you shoot it and if you’re ambitious enough to want to do a movie that relies as heavily on timing as this kind of movie does, you’d better know the timing down to the second. Unfortunately, we end up with a movie that’s rather choppy and goes into a flashback just as we’re getting into the story.

The performances are mainly okay although not dazzling. Janzen, who reminds me of a young Kevin Bacon crossed with an Entourage-era Kevin Dillon, shows the most potential as the sad-sack loser who is not nearly as brilliant a criminal mastermind as he thinks. He alone gets the sense of pacing in the dialogue.

There are a few plot holes – if this was supposed to be an “in and out job” where nobody gets hurt, why bring guns? Also, it’s never clear why Tracy tells Jeff about the cash stash. Still, those are minor issues that more experience behind the typewriter will help eliminate.

You get a sense that this film could have been better than it was. Hopefully, we can chalk it up to being a learning experience for Pierson because he does show some potential here. I think with a little more seasoning, he is certainly capable of making some memorable films. Unfortunately, this isn’t one.

REASONS TO SEE: Janzen reminds me of a cross between Kevin Bacon and C. Thomas Howell.
REASONS TO AVOID: The film has the pacing of an engine in need of a tune-up.
FAMILY VALUES: There is a lot of profanity, violence (some of it unintentional) and sex.
TRIVIAL PURSUIT: This is the first feature-length film for writer-director Pierson after having made eight short films.
BEYOND THE THEATER: Amazon, AppleTV, Fandango Now, Google Play, Microsoft, Vudu
CRITICAL MASS: As of 7/10/20: Rotten Tomatoes: No score yet. Metacritic: No score yet.
COMPARISON SHOPPING: Before the Devil Knows You’re Dead
FINAL RATING: 5/10
NEXT:
What Men Want

The Big Take


With Zoe Bell, axe and you will receive.

(2018) Crime Comedy (Archstone) Ebon Moss-Bachrach, James McCaffrey, Dan Hedaya, Oksana Lada, Bill Sage, Zoe Bell, Robert Forster, Slate Holmgren, Tara Westwood, John Enos III, Joslyn Jensen, Taylor Gildersleeve, Nick Daly, Matthew Kehoe, Sean David Morton, M.J. Rodriguez, Sandra Docherty, Sid O’Connell, Donna Mitchell. Directed by Justin Daly

 

It goes without saying that movies that go direct to video are generally of a lesser quality than those that do not. However there are exceptions and The Big Take, a crime comedy that is the first feature for writer-director Justin Daly, is one of those.

Faded movie star Douglas Brown (McCaffrey) is plotting his comeback, although a bitter divorce has led him to put all his assets into a bank in Panama to keep them from his vindictive ex. At an exclusive club in West Hollywood, he is accosted by barback Vic Venitos (Holmgren) who pushes a friend’s script called The Night of the Fire on the aging actor but Brown dismisses him in a manner that gives the impression that the movie star is quite the jerk.

Vic doctors one of Brown’s drinks and the actor is forced to make an exit but not before collapsing in a stairwell where an aggressive transgender (Rodriguez) apparently rapes him in a moment of transphobia that may cause those sensitive to such things to squirm (NB: although the incident is never shown, it is intimated that something sexual is happening and while it’s possible that the transgender in question was doing something else awful to Brown most audience members are going to think “rape”). Venitos then arranges to blackmail Brown into financing his film, but in typical neophyte fashion messes it up and writes the blackmail note on the back of the script which includes the writer’s name – Max O’Leary (Moss-Bachrach) – and address.

Brown’s hard-nosed agent Jack Girardi (Sage) puts ex-cop fixer Frank Manascalpo (Hedaya) on the case to retrieve the hard drive that Venitos stole from the club with the original security camera footage of Brown’s moment but the screenwriter’s Ukrainian wife Oksana (Lada) turns out to be pretty competent in hand-to-hand combat and gets the better of Manascalpo who then resorts to hiring nuclear deterrent Edie (Bell), who has a violent temper and a burning desire to be an astronaut and that’s when things get rapidly out of control.

I generally don’t have very high expectations for direct-to-video projects but the cast list should give you a clue as to the higher quality than normal of this one. I’m always happy to see Bell onscreen; not only is she a great action star, she also brings a certain sparkle to every role she inhabits. Forster is one of my favorite character actors as well and his world-weary cop here is a specialty of his. Hedaya is unfortunately far less visible than he was say 20 years ago but he still has the greasy screen presence he’s always had. Moss-Bachrach is essentially the star here; Max is blissfully ignorant of his producer’s machinations and doesn’t understand why his star is sending thugs to his house. Moss-Bachrach (who is credited here without the hyphen) has a bit of a nebbish quality to him but is likable enough to pull it off.

There is a bit of a noir-ish tone here but with a sly wink towards Robert Altman’s The Player and Elmore Leonard. In fact, I wouldn’t have been surprised to find out that this was based on a Leonard novel (it wasn’t) which is pretty high praise. One gets the sense that the same frustrations that Max and Vic feel are frustrations that Daly is no stranger to.

There are some missteps. The soundtrack is less than scintillating with an over-reliance on Trojan ska (Oksana’s character loves to gyrate to the island riddim) and worse industrial club fare which actually detracts from the film. It’s a given that a low-budget film isn’t going to be able to afford the best soundtrack but I’ve seen plenty of films of comparable budgets that have managed to fill their soundtrack with wonderful songs. It’s a shame they didn’t put more time and effort into finding some for this film. Also, these type of caper comedies need to move at a breakneck pace to be effective; this one is a bit too laid-back and as a result doesn’t have the energy it really needs to be truly memorable.

Nonetheless this is a reasonably entertaining crime comedy that doesn’t waste the viewer’s time and while there is some room for improvement, I was pleasantly surprised and can give this a solid recommendation. I could only find a couple of outlets where it’s currently available but Sony’s home video arm is behind it so I wouldn’t be surprised to find it all over the place in the near future. New York City readers can also catch it at the Cinema Village for a brief theatrical run as well but I would suggest you get out to see it quickly; it’s not likely to remain in theaters long.

Editor’s note: The style of music on the soundtrack was misidentified as reggae and has been corrected. Also, at the director’s request, it is pointed out that whatever violation of Douglas Brown occurs is not explicitly shown so that it is possible that the incident is something other than sexual assault.

REASONS TO GO: The movie is surprisingly entertaining. The cast does a strong job.
REASONS TO STAY: The soundtrack is more than a little weak. The energy is a little too low-key for the genre.
FAMILY VALUES: There is plenty of violence and profanity, some brief drug use and brief nudity.
TRIVIAL PURSUIT: Daly is the grandson of the legendary Ingrid Bergman and nephew of Isabella Rossellini.
BEYOND THE THEATERS: Amazon, Vudu
CRITICAL MASS: As of 9/9/18: Rotten Tomatoes: No score yet: Metacritic: No score yet.
COMPARISON SHOPPING: Get Shorty
FINAL RATING: 6.5/10
NEXT:
Rampage