Director: John Patton Ford
Screenplay: John Patton Ford
Starring: Aubrey Plaza, Theo Rossi, Megalyn Echikunwoke, Gina Gershon
Country: United States
Running Time: 93 minutes
Year: 2022
The current state of cinema is weighted to big budget blockbusters which is perfectly fine, but it does rather create the idea that’s all there is. On the contrary, film is in rude health, not least in the modern crime thriller genre. The Safdie Brothers have made two extraordinary films recently in Small Time and Uncut Gems. Nicolas Winding Refn’s Drive continues to cast a substantial shadow. Into the mix comes John Patton Ford’s debut feature, Emily the Criminal.
On the spectrum of Refn cool to Safdie intense, Emily the Criminal picks an unremarkable middle of the road, but all that does is highlight the excellent performances and a fascinating narrative that raises the film as a solid character drama as much as a thriller.
I know that sounds like a back-handed compliment, but in fact this is an important film that stretches the edges of the genre. Rather than heightened realism that might be fun but nevertheless feels romanticised and detached, almost every beat of Emily the Criminal is relatable. The film is as much a social commentary as it is a thriller. Before I convince you this is some kind of navel-gazing exercise, it does have nerve-shredding tension, not least because of the devotion to character. You take every step along with Emily.
A phenomenal Aubrey Plaza plays Emily, giving an exquisite performance of focus and deadpan humour that masks a vulnerability that Emily refuses to give in to. She is trying hard to re-enter society after being released from prison and she wants to get back on track. More Saul Goodman than Walter White, with a rubbish job, wanting better. All the supposedly good guys on the right side of society, who could help her, treat her with disdain, suspicion and manipulate her.
And being a criminal is so easy. These people that pull her into an ostensibly more dangerous world aren’t gas-lighting her and want nothing from her. They’re no Fagins encouraging waifs to pick a pocket or two, and so the film is a fascinating indictment of society. At no point is Emily trying to take advantage of anyone, but she is a natural at crime. So, naturally, she flourishes.
Still, her new hobby attracts real bad guys, yet each test finds her a new tipping point to which she responds. Meanwhile, every white collar pushback causes her to flounder (a scene with Gina Gershon is particularly memorable).
Patton Ford has crafted a marvellous film for his feature debut. Arguably, he could have made it easier with a little more of the flash that some of his peers may have chosen, but Emily the Criminal is a stronger, more subtle film for his confidence in the material and, considering the well chosen intensity of some of the scenes, this director is more than capable of making his next film as flashy as he wishes.
The Blu-ray, however, sells the film short. It’s a fine presentation, but with only a trailer as an extra feature.
