![]() Caine and company are motivated by the pure and lazy fact that they aren’t rich and they would like to be. They haven’t been wronged by some sinister force outside of their control. What’s more, beyond an unmistakably English charm and the simple fact that we are following their story, we are never given sufficient reason as to why we should root for our elderly crooks in their criminal quest. The film will routinely take risks, but it continuously proves itself far too timid to stand by them. Marsh and Penhall do have a few tricks up their sleeve, but they abandon them all one by one in order to play it safe. However, the real issue with King of Thieves is its blind reliance on familiarity. ![]() Swinging wildly between tones, Joe Penhall’s ( The Road, Mindhunter ) clunky script will play its narrative light and loose one moment, with tired geriatric humor punctuated by the film’s jazzy soundtrack, and then, without logic or warning, it will begin addressing itself with deathly seriousness, believing the caper at its center to be both thrilling and genuinely shocking. It would be tempting to attribute all of the film’s misgivings to its messy, disjointed nature. However, the heist proved to be the easy part, as each of the thieves spent the days to follow looking over their shoulders, wary of both the law and one another. Along with young computer wiz Basil (Charlie Cox), the grey-haired geezers accomplished the impossible, breaking into the heavily fortified vault and making out with more cash and jewels than they could count. Unfortunately, this slick move, ultimately called upon too infrequently to function properly, is one of only a few handy maneuvers Marsh holds in his arsenal in this middle-of-the-road heist flick.īack in 2015, a group of senior citizens (Caine, Broadbent, Winstone, Courtenay, and Whitehouse) pulled off one of Britain’s greatest robberies when they nabbed roughly £14 million worth of treasures from Hatton Garden Safe Deposit in central London. Through a bit of cinematic trickery, footage of each in 60s and 70s crime joints ( Billy Liar, Scum, etc.) is spliced into the narrative to serve as both loving tribute to the venerable veterans and as homage to an age of bygone filmmaking, à la Steven Soderbergh’s The Limey. ![]() For that matter, neither are Jim Broadbent, Tom Courtenay, Ray Winstone, or Paul Whitehouse, which appears to be the chief reason the elderly Brits were assembled for James Marsh’s King of Thieves. This looks like someone put the plots of multiple other heist movies on a table and invited a group of daft executive producers to pick the scenes they wanted to finance.From the seminal ( The Italian Job ) to the near unwatchable ( Going in Style ), Michael Caine is no stranger to heist movies. ![]() One or two moments work but not nearly enough to keep us engaged till the somewhat cop out finale. While supposedly based on fact, its mostly presented as a comedy caper (the scriptwriter even foolishly makes a reference to the classic ‘Lavender Hill Mob”) but then throws up sharp, jarring moments of hateful double crosses, tipping this take of events off balance. The only audiences likely to make it through this caper will be those hauled out of their graves, propped up in their seats with match sticks placed under their eyelids. This gang of misfit nasty ole robbers all seem to have been hauled out of their comfortable retirement homes, kicking and screaming, while constantly uttering an endless barrage of foul expletives - each trying to needlessly out swear the other. Egad look what just broke into our screens! A gang of over the hill jewel thieves plan and execute one of Britain’s biggest ever heists.
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