The whole complicated con has been done a lot by now, in movies with high and low profiles. A lot of bad ones, but some good ones. Yet, it’s the most tired thing, ever. I actually hate a movie where there’s nothing more than to predict the flip — I think the obvious thing about movies with a flip is that the point is not to flip. And in the case of this one, I’m just waiting for a flip…
A good thing to make the audience wait for the flip, and then don’t flip.
Movies with big elaborate setups/cons (thinking fast)
The Sting
Oceans 11
The Killing
Matchstick Men
Is Redford REALLY being stung? I keep thinking that whenever he’s stressed out (by someone chasing him, by the FBI agents) that he’s really in control (that the shadow or the agents are plants) and he’s on his way to a longer game. On the other hand, when it seems obvious that he’s playing the old woman in the diner, I think that maybe he actually really likes her: “It’s two in the morning and I don’t know anyone.” Well, maybe he means it.
The nature of the complications in this movie is the number of dangers on so many sides, and how they may or may not be interconnected to each other. Are the FBI agents real? Who is the woman? None of the con mens’ loyalty can be completely trusted, and even the mark is working players on the side. There’s a “big stakes” element, but I don’t really get the numbers (how much is 15 000 dollars worth in 1920’s dollars? Is this the 1920’s?) and I don’t think it’s particularly charming anyway. There’s a “really long con” element, but the manipulation of the mark is pretty straightforward.
Well, for a movie that came so highly recommended, I am indeed disappointed! The cute and nice quirk at the end — where Redford doesn’t take his cut of the payoff, because it would ruin the whole thing — was a really good moment, and really boosted his character’s likability, but if that’s all this movie was about, I’d pass.