This was written and directed by Rian Johnson who should get a medal for refusing to follow the template and turn out a mindless action flick or silly comedy. This could have gone either way but it didn't. Instead we have a richly stylized story of two brothers (Brody and Ruffalo) who pull one last long con on a New Jersey heiress (Weisz) and must watch their scenario go astray.
It reminds me a little of "The Stuntman," not in its plot but in the originality of its presentation and in its tinkering with the difference between illusion and reality. It has comic moments but ends dramatically.
The performances are fine. I guess Robbie Coltrane isn't really much of a Belgian but he gives it the old college try and sends up a multitude of trial walloons. It may be Rachel Weisz' best performance. Watch the expressions that flit across her blunt, beautiful features when she emerges from her New Jersey cocoon for the first time, sits down at a dinner table, and Brody smiles at her and compliments her on her appearance. Ruffalo gives an impression of one of those slithery mudslides that don't make a lot of noise but carry everything with them.
The musical score is by Nathan Johnson, the director's cousin, whose approach to scoring is, let's say. unconventional but fitting. One scene is underscored with tuned wine glasses.
I won't go on about this except to say that it's well worth watching. What a relief from the usual junkyard.
It reminds me a little of "The Stuntman," not in its plot but in the originality of its presentation and in its tinkering with the difference between illusion and reality. It has comic moments but ends dramatically.
The performances are fine. I guess Robbie Coltrane isn't really much of a Belgian but he gives it the old college try and sends up a multitude of trial walloons. It may be Rachel Weisz' best performance. Watch the expressions that flit across her blunt, beautiful features when she emerges from her New Jersey cocoon for the first time, sits down at a dinner table, and Brody smiles at her and compliments her on her appearance. Ruffalo gives an impression of one of those slithery mudslides that don't make a lot of noise but carry everything with them.
The musical score is by Nathan Johnson, the director's cousin, whose approach to scoring is, let's say. unconventional but fitting. One scene is underscored with tuned wine glasses.
I won't go on about this except to say that it's well worth watching. What a relief from the usual junkyard.