“The Pearl Is The Tallest, Most Advanced Building In The World…”
With Rampage up there with one of the most tedious examples of over-inflated, digitally enhanced works of blockbuster trash so far this year, following on from the similarly painful endurance test which was last year’s Jumanji remake, it’s fair to say my opinion of Dwayne Johnson’s acting pedigree has somewhat deteriorated recently, but with the release of Skyscraper, the latest movie from Rawson Marshall Thurber who reunites with Johnson after their work together on Central Intelligence, Johnson returns to the bombastic, B-Movie-centric blockbuster hero many have come to love in a movie which revels in its’ utmost absurdity and succeeds in being nothing more than one heck of a fun ride. Based on a screenplay written by Thurber, Skyscraper is the type of disaster movie unashamed to scream out its’ influences as it swerves between a mix of Die Hard, The Towering Inferno and Panic Room, with Johnson’s former FBI agent turned amputee security adviser, Will Sawyer, forced into a perilous situation as he attempts to save his family who have been trapped within the titular structure coined “The Pearl” and a terrorist plot helmed by Roland Møller’s (Atomic Blonde) muscular if underwritten Kores Botha.
With the movie taking no time out of its’ harmless ninety minute runtime at all for meaningful characterisation, with even Sawyer’s opening catastrophic life-changing injury flashed through without cliff-notes, Thurber’s screenplay is much more interested in using Johnson’s physicality to influence the story in a fashion which was gratingly absent from the actor’s previous endeavours on screen, particularly in the likes of Rampage when Johnson’s natural charisma was wasted in favour of over-inflated digital pixels and explosions. Whether it be a bruising and practical one-on-one fist fight, holding up crumbling bridges with just his hands or taking a leap of faith with the movie’s most bananas moment as his character evades certain death when jumping from a crane into the heart of the fire ridden tower in order to save his family, Skyscraper is indeed ridiculous, but the type of movie which manages to phase through its’ cheesiness and leave you with an almighty grin, even with the inclusion of corny plot exposition and character deceptions which are so obvious there really wasn’t any need to attempt to hide them in the first place. Whilst offering nothing new whatsoever to the genre in which it sits, Skyscraper is a ninety minute guilty pleasure which reinforces the love for Johnson that was once lost, proving that when placed in the right scenario, The Rock is the man you need to save you from certain death.
Overall Score: 6/10
“If We Want To Save Our Country, We Must Release All Our Anger In One Night…”
With The Purge: Election Year correctly signalling the conclusion of a trilogy which had already outstayed its’ welcome after a triage of films which never really managed to balance the interesting socio-political ideas at the heart of the series with effective elements of horror, even if some of the genre-inspired masks were actually quite creepy, for reasons which can only be regarded as monetary, here we are once again with The First Purge, an unwarranted series prequel which showcases the events of the first ever Purge-related experiment as the idea is authorised for testing within the area of Staten Island, New York City. Written and produced by series stalwart James DeMonaco, who this time takes a backseat from directorial duties and instead hands the reigns to Fruitvale Station producer, Gerard McMurray, The First Purge is a languid, pointless and utterly worthless work of gratuitous nonsense which falls into the trap of its’ predecessors by simply exploiting its’ fundamental notional cornerstone in favour of graphic violence which is eagerly presented without any real sense of meaningful purpose, and even when the same can be said at times for the preceding three movies, McMurray’s take is the first entry to miss the mark in astronomical fashion.
With newcomer Y’Lan Noel’s Dmitri portrayed as the central hero of the piece, a character who earns his money through exploiting a poverty stricken community via drug dealing and murder, it’s fair to say that in terms of the movie’s sense of peril or threat, the radar lands on a resounding zilch, and even with the inclusion of Lex Scott Davis’ morally central, Nya, and brother Isaiah, as played by Joivan Wade (Doctor Who), the chance to break away from the two-dimensional characters in which the actors represent is never offered, resulting in a movie which is tonally cold and utterly un-engaging. With the movie also struggling to contain a lid on the various tonal strands it embarks on, with elements of horror, action and unwarranted comedy all jumbled together like a cinematic equivalent of spin art, the constant and untimely gags end up feeling jarring, with a scene of a sexual assault in particular concluding in a chuckle-some Trump-targeted pop which literally had my mind exercising somersaults of disbelief. With Marisa Tomei (Spider-Man: Homecoming) being criminally underused in favour of happy-go-lucky drug dealers and endless cheap jump scares, The First Purge is a wasted opportunity to represent the series with a new, interesting light, the type of movie which ironically enough, should be purged from our cinema screens as violently and quickly as possible.
Overall Score: 3/10
“You Wanna See This Thing Through? I’m Gonna Have To Get, Dirty…”
With Denis Villeneuve showing a wider audience what was to come of his expert film-making prowess back in 2015 with Sicario, a expertly crafted, white-knuckle thriller which laid the basis for the similarly masterful Arrival and Blade Runner 2049 in terms of what the French-Canadian could achieve with the right backing, arguably the more impressive element of the feature was Taylor Sheridan, an American most famous at the time for his stint on Sons of Anarchy but whose screenplay for Sicario was both smart and compelling, one swiftly followed by equally impressive screenplays for both Hell or High Water and Wind River, capping off a trio of superbly written movies. each with a dedicated lust for heavy doses of substance and style in equal measure. Returning to writing duties again for the eagerly anticipated Sicario sequel, subtitled Soldado, the absence of Villeneuve means Italian director Stefano Sollima (Suburra) takes charge of a movie which continues the oppressive, ominous tone of the original whilst working through a genuinely thrilling narrative, one which sees the return of Josh Brolin (Avengers: Infinity War) and Benicio del Toro (Star Wars: The Last Jedi) as Matt Graver and Alejandro Gillick as they attempt to orchestrate a war between the Mexican cartels after they are seen to be aiding agents of ISIS cross the border in order to carry out their destructive message, and whilst Soldado doesn’t entirely hit the heavy heights of its’ near-perfect predecessor come the end credits, Sollima’s movie is still an unnerving, powerful work of war at its’ most darkest and lawless.
Beginning with a catalogue of terrorist related events, including a jaw-dropping and horrific supermarket explosion in which the camera lingers closely from outside through every familiar step of contemporary terror, Soldado quickly re-introduces the reunion of Graver and Gillick as they are handed the freedom to do as they please in order to combat the ever-increasing Mexican cartel presence on the US-border which has now taken extra precedence due their involvement in potential terror activities. With a central narrative which sees the kidnapping of the young, spoiled daughter of a renowned Mexican cartel boss, one which ultimately results in in-house allegiances being put to the test, Sheridan’s screenplay also follows closely the exploits of newcomer Elijah Rodriguez’s Miguel as he crawls up the ranks of the cartel’s people smuggling operation, and whilst the sequel doesn’t entirely hit the brooding, ambiguity which drove through the entirety of its’ predecessor up until the very end, the tight-knit, unbearable tension does manage to completely follow over, rearing its’ head throughout a high proportion of a movie which aside from one sarcastic aside, primarily holds its’ tone as completely and utterly serious. With a Michael Mann-esque, militaristic sensibility which sees countless shots of rampaging army vehicles cruising across the vacant, perilous landscapes of the US/Mexican border, Soldado is wickedly spectacular in its’ approach to action set pieces, with the piercing sound of bullets echoing the overripe mixing of Christopher Nolan’s Dunkirk merging spectacularly with endless cinematic screenshots of whirring helicopters, over-head drones and enough firepower to start and end a small coup.
With the inclusion of much more lusciously orchestrated action scenes second time around, the question remains whether the overall screenplay deserves such luxuries, and even as an overall body of work Soldado doesn’t piece together as tightly or rigidly as Sicario, with particular crucial plot threads concluding rather suddenly without any real sense of full-blooded purpose, the avenues which Sheridan’s writing takes us undoubtedly suits the bleak mould of the series, particularly in the movies’ penchant for gut-wrenching murder sequences and a concluding near-death experience which undeniably ranks up there with one of the more brutal character arcs in recent history. With Brolin and del Toro on superb, angst-ridden, macho-growling form, with the latter having much more space for a deeper layer of examination this time around as his character’s uncertain, ambiguous nature is slowly scraped at and given light, young Isabela Moner (Transformers: The Last Knight) as the similarly tough Isabela Reyes gives an equally impressive performance as the daughter of the cartel boss responsible for the death of Alejandro’s wife and daughter. With a bruising, battling, war torn sensibility which is as tough at times as it is riotously engaging and enjoyable, Soldado is a sequel success story which both pays homage to its’ predecessor with utmost respect whilst developing its’ characters in fascinating ways, and with the possibility of a third film coming to nicely round the series off as a trilogy, one can only query how much further Sheridan can continue his winning scripture streak.
Overall Score: 8/10
“Hell Of A Day, Huh? Science Experiments Falling From The Sky…”
Ever so slightly based on the incredibly retro arcade games of the same name which began all the way back in 1986, Brad Peyton (San Andreas) returns to the big screen with Rampage, a CGI ridden reunion with Dwayne “The Rock” Johnson (Jumanji: Welcome to the Jungle) which sees him front and centre of a science experiment gone massively out of control, resulting in gigantic, destructive beasts being let loose in the heart of Chicago. With the arcade game instructing players to destroy everything and anything in their wake whilst famously controlling an oversized gorilla in order to move on to the next level, Peyton’s movie features a screenplay which attempts to sew together some form of genuine narrative around such, and with the aid of a seemingly unlimited digital effects budget and the presence of Johnson who always seems to lure in the big bucks, such a feat has somehow been accomplished, albeit one far from a standard of quality for the movie to be considered at all successful. With endless mind-numbing action, a ludicrous and thoroughly stupid narrative, and some ropy examples of both effects and acting alike, Peyton’s movie is annoyingly not the fun blockbusting entertainer one may have hoped for, and whilst the movie may not have any issues at the ticket stand, the film seems only to work to a particular audience of which I can proudly admit I bear no chance of being part of.
With the film struggling to hold together a rafter of intertwining plot threads throughout its’ overbearing 100 minute runtime, the first half hour attempts to build up the central relationship between Johnson’s Davis Okoye, a retired soldier turned primatologist, and the albino gorilla, George, whose presence is managed through a mix of effects and Andy Serkis-inspired motion capture, and with it difficult to think of anything other than Rise of the Planet of the Apes and its’ subsequent critically acclaimed sequels when it comes to a cinematic relationship between man and ape, Rampage does manage to hold its’ respective bond to a solid and passable degree. Unfortunately for the rest of the movie, come the latter two-thirds when destruction upon destruction is the central focus for a staggeringly dull and unpleasant period of time, all the good work is undone and the film essentially becomes an amalgamation of Pacific Rim, Transformers and all the other bloated works of cinema which don’t earn their decision for utter and ultimate destructive chaos. Throw into the mix truly awful performances from the likes of Jake Lacy (Their Finest) and Jeffrey Dean Morgan (Watchmen), with the latter essentially just doing his role of Negan from The Walking Dead, Peyton’s mix is a real uninteresting work of nonsense which fails to capture both the enjoyment of the video game in which it derives from and the guilty pleasure sensibility in which it undeniably should have aimed for.
Overall Score: 3/10
“How Did Faith Work Out For Those People..?”
Acting as a more than unnecessary reboot of the Michael Winner 1974 film of the same name, torture porn aficionado, Eli Roth (Hostel, Knock Knock) takes control of Death Wish, a ridiculously mainstream B-Movie attempt which swaps Charles Bronson for Bruce Willis as Dr. Paul Kersey who wreaks havoc on the criminal fraternities of Chicago after his wife and daughter are caught up in a robbery gone violently wrong. Forged around a screenplay by Joe Carnahan (Smokin’ Aces, The Grey), Roth’s latest is a strangely inert and viciously edited piece of nonsense which although fails to live up to perhaps the levels of incompetence many would suspect, is still a cliched and generously predictable ninety minutes with a Bruce Willis on hilarious form with arguably his worst on-screen performance in his entire career thus far. With vigilante justice a mainstay of cinema and television alike, with John Wick: Chapter Two and Netflix’s thoroughly entertaining The Punisher released in the past year, albeit one delayed due to questionable murmurings regarding its’ violent tendencies, the argument for whether yet another film depicting the horrors of U.S gun control in a day and age ripe with high profile massacres and murders is simply one I tend to stay away from, with instead focus directed primarily on the film as a work of cinema, rather its’ place in the overriding social stratosphere.
Unfortunately for Roth however, his decision to focus wholly on the power of violence and delights of retribution without any flip-side or depth to the film’s leading character is where the movie ultimately fails, with Death Wish oh so quickly falling into a pattern of an on-screen violent murder followed by minimalist discussion through random radio off-cuts and then quickly back to yet another violent death without any real sense of purpose or character development other than just Willis’ Kersey simply acting as cannon fodder for the film’s plodding progression. For example, in a remarkably misjudged scene, Willis’ Kersey enters a gun store with a busty, flirty female sales assistant happily flouting the power of the many weapons on show with Kersey questioning how easy it is for him to purchase such weapons, a question which I, and perhaps the entire audience, assumed would then proceed to satire the sordid state of affairs American gun control is currently in. Shockingly however, this discussion then leads to a scene later in the movie when Kersey returns hand in glove with a desire to purchase everything and anything in order to violently massacre whom he sees fit, showing that in fact, Roth’s view of the American weapon fascination is only for the greater good. With the film so obviously edited to fit under the umbrella of the 15 certificate that at times the picture jumps frames so violently you feel as if you’ve been shot yourself, Death Wish is still not exactly terrible and at just over ninety minutes, is sort of bearable to some degree, but with lazy decisions and a god-awful Willis, Roth’s movie is still utter nonsense.
Overall Score: 4/10
“This Is The Way The World Ends…”
With Guillermo del Toro joyously arriving home earlier this month with a couple of Academy Awards in his back pocket for The Shape of Water, his latest rousing critical success is brought somewhat back down to earth with the release of Pacific Rim Uprising, a sequel to del Toro’s 2013 ridiculously silly action gargantuan which in all fairness, is more painfully cheesy than entertaining, and a film which brings to mind the middling rough patch the Mexican seemingly went through before this year’s resounding return to form. Swapping the director’s chair for a producing role however, the job of taking hold of the unnecessary sequel falls to Steven S. DeKnight of Daredevil Season One fame, undeniably the strongest Marvel/Netflix release to date, whose big-screen debut features John Boyega (Star Wars: The Last Jedi) as Jake Pentecost, son of the legendary General Stacker Pentecost as portrayed by Idris Elba (Thor: Ragnarok) in the first film, who swaps his life of thieving and black market dealings for a return to the fold in line with the Jaeger program after a fresh threat arises from the destructive, otherworldly Kaiju. With awful dialogue, a woeful lack of emotional investment and endless, mind-numbing overblown action set pieces, Uprising is unsurprisingly utter tosh, and even when some of the characters at times threaten to make the film more interesting than it should be, it’s plain to see that the main function of DeKnight’s cinematic debut is of course, solely monetary.
Whilst the first feature was just straightforward, unadulterated nonsense with an added layer of awfulness due to Charlie Hunnam’s vacuous leading character, the performances of both Idris Elba and Rinko Kikuchi meant that the film was at least likeable to a certain degree, and with the latter one of the more interesting returning characters added to the fold once again, her particular narrative strand within Uprising is systemic to the problems of the film. Far too many times are new and returning characters given so little to do in terms of engaging character development that when the film does eventually heed to the wishes of its’ true and fundamental natures in the form of CGI-engulfed action sequences, not one audience member actually really cares who does what and who makes it out alive. With it becoming patently clear that any movie touched by the woeful “talent” of both Charlie Day (Fist Fight) and Scott Eastwood (Suicide Squad) is destined to be labelled as god-awful, Uprising does at least benefit from a committed, cockney-fuelled performance from the ever-charismatic Boyega and a runtime which improves on the staggeringly long length of its’ predecessor, but with a concluding act which makes Man of Steel look like a Woody Allen movie and a jarring post-credits sequence which makes you roll your eyes in utter condemnation of the movie’s future possibilities, Uprising doesn’t totally suck, it’s just the type of movie you watch with a blank expression and let it leave your consciousness as soon as its’ over. If you stay awake that is.
Overall Score: 4/10
“You Messed With The Wrong Family…”
With Angelina Jolie and co. all the way back in 2001 showing how not to make a half decent video game adaptation with Lara Croft: Tomb Raider, a movie perhaps best remembered for featuring a pre-martini’d Daniel Craig in his youthful glory and the most annoying supporting character ever in the form of Noah Taylor’s I.T addicted Brit, here we are seventeen years later bearing witness to yet another cinematic franchise reboot with Alicia Vikander (Ex Machina) taking over the reigns as the titular wall climbing heroine. Based upon the similarly titled 2013 video game from developers Square Enix, a game of which I can confess to playing from beginning to end and thoroughly enjoying, Tomb Raider, directed by Roar Uthaug (The Wave) follows the more robust and hunter-gatherer motif of the rebooted game series, utilising a much younger and innocent Croft as she develops her skills and understanding of the mystical forces of nature in a Casino Royale styled coming-of-age fashion, and whilst the movie does remain loyal to its’ foundations with some interesting ideas and a dedicated leading lady, Uthaug’s movie is still slightly under par of something which should have been much more entertaining.
With Vikander adding a staggering amount of muscle in preparation for the role, her physical demeanour and willingness to at least look the part lands kudos points on her as an individual, and whilst the Swede is an undeniably likeable leading star, her approach to the role of Lara Croft is somewhat undermined by a screenplay which tends to verge on the edge of slumbering dullness, particularly in its’ first half when we move from the urban wasteland of contemporary London through to the mysterious island of Yamatai via a stop-off in a thieve-ridden Hong Kong. Where the movie does eventually pick up the pace is in Croft’s discovery of the island she so dearly seeks in order to answer questions regarding her father’s disappearance, an area which formed the basis of the 2013 video game, and a location which introduces both Walton Goggins (The Hateful Eight) as the underwritten primary antagonist and Dominic West’s (The Wire) hermit-esque and poorly wigged father figure whose narrative arc does seem relatively cliched. Concluding with a poorly managed “twist” which comes across as the definition of shark jumping, Tomb Raider is a somewhat mediocre blockbuster adventure and one which suffers primarily from a tendency for action over substance, but with Vikander an enjoyable leading presence with a kick-ass sensibility, the latest video game adaptation just about crosses the line.
Overall Score: 5/10
“Why Do I Always Get Screwed For Doing My Job…?”
Itching with a sense of Hollywood styled nepotism, director Nash Edgerton brings brother Joel (Red Sparrow), Charlize Theron (Mad Max: Fury Road) and Oxford’s own, David Oyelowo (Selma) aboard for his directorial debut, Gringo, a kooky, wildly inconsistent crime caper based on a screenplay by both Anthony Tambakis and Matthew Stone which sees Oyelowo’s white-collared Harold Soyinka caught between his sickeningly narcissistic bosses and the murderous ventures of the Mexican cartel as attempts to reconstruct his life based around cheating partners and financial ills by conning his way into a paycheck suitable enough to begin a new life. With the trailers somewhat misleading the movie’s true intentions by presenting it as a full bodied comedy, Gringo instead is the type of movie which can’t seem to make up its’ mind as it grinds solemnly through a runtime which edges just under two hours, and whilst each of the cast members give it their all in attempting to breathe some sort of life into proceedings, Edgerton’s movie just doesn’t seem to leave any sort of meaningful impression and simply comes in via one ear and departs swiftly out of the other.
Beginning by laying the foundations for the misfortunes which await Oyelowo’s titular “Gringo” as he follows Theron and Edgerton’s success craved business partners across the Mexican border in order to talk business regarding the sale of a marijuana-infused pill, Edgerton’s movie takes time to really set sail, with a first half unsure of its’ ultimate direction resulting in losing audience interest rather swiftly, and even as the action unfolds once we hit the the sunny sights of a gangland infested Mexico, Gringo doesn’t at any time hit a steady stride in regards to what we as the audience are meant to be taking in and dissecting. A few chuckles aside, Gringo doesn’t ultimately work as a comedy either and is a film better served being admired as a Guy Ritchie-esque double crossing caper, just without the freshness of a Lock, Stock… or the zesty absurdity of a Snatch, and with a thrown in penchant for unnecessary violence and crude stereotypes regarding one-dimensional Mexican citizens, Edgerton’s movie is a strangely dull mixed bag of a movie. With the trio of front and centre stars all managing to come across somewhat watchable however, with Oyelowo’s likeable luckless lead the obvious standout, Gringo isn’t exactly poor, it’s just badly managed, and for a cast this talented at the heart of it, Edgerton’s debut could, and should have, been much, much sharper.
Overall Score: 5/10
“You Are Not Yakuza. You Are A Gaijin. An Outsider…”
With Bright, Mute and The Cloverfield Paradox a trio of big budget movies which have used Netflix as the chosen platform for their respective release over the course of the past six months or so, it’s fair to say that so far, critical consensus has been, let’s just say, less than positive for anything with the Netflix branding tainted on it, aside from the likes of Okja and Annihilation which have seemingly broken the bog awful standard set so thus far. Another week, another small screen offering however, with Netflix turning to Jared Leto this time in The Outsider, a generic, yet overly functional, crime thriller which utilises the much commentated approach of placing the American in the heart of post-war Japan as he rises up the ranks of the Yakuza after saving the life of Tadanobu Asano’s (Silence) long-serving crime boss, Kiyoshi, in prison. With a nihilistic, unnerving tone and both underwritten characters and subplots, director Martin Zandvliet’s approach to handling the inclusion of Leto’s wandering military ghost figure, Nick Lowell, is not exactly justified, with the narrative more focused on handling a whistle stop tour of violent deeds and double crossing than ever coming up with a valid reason for his inclusion in a primarily Japanese cast, but with enough style to at least hold your attention whilst it works its’ way from A to B, The Outsider is just about good enough to warrant two hours of your in-home small screen.
With attention obviously centred around the fundamental plot hole regarding whether a titular “outsider”, or in the words of the Japanese themselves, a “gaijin”, would ever be allowed into the strict ruling of the Yakuza traditions, the idea itself is one of interesting possibilities, but with a narrative starved of substance and an overripe, unnecessary violent streak, The Outsider is strangely unimaginative, utilising generic tropes of in-house familial power struggles to carve out a strangely tacked-on ending after we witness Leto’s Nick progress from messy haired prisoner to sharply dressed gangster with added cheekbones. Whilst the performance of Leto himself is similar to attempting Ryan Gosling’s performance in Drive without half the acting ability or talent, his fundamental dullness is entirely down to the writing, where although the primary focus of the movie is seemingly meant to infiltrate the ways of the Yakuza through the eyes of a Westernised psychopath, the audience is instead left with an empty vessel which violently acts out whenever he feels the audience may be starting to lose patience. Whilst The Outsider is undeniably messy therefore and full of ludicrous implausibilities, Martin Zandvliet’s latest still managed to keep me interested however, and for a film which manages to have so many weaknesses and still hold me until the end, something somewhere ultimately worked.
Overall Score: 6/10
“Keep Your Eyes Open. Every Cop In The Country Is Going To Be Looking For Us…”
Being an avid hater of most things which bear the name Gerard Butler in the closing credits, the release of Den of Thieves unsurprisingly accompanied a heavy sense of sadness at potentially spending yet another two hours sat in a screening which results in time ultimately being well and truly wasted, and with London Has Fallen screenwriter, Christian Gudegast, on directorial duties for the very first time in his career, it’s not exactly hard to imagine why on entering the auditorium in preparation for Gudegast’s movie, my heart became just a tiny bit heavier. Whilst I’m more than adjusted through years of movie-going experiences to sometimes accepting and devouring a slice of humble pie, Den of Thieves is unebelieavably the sort of movie which raises above the sordid expectations set upon it in a somewhat miraculous fashion and leaves you shamelessly declaring out loud how wrong you were in the first place, a movie which presents itself as a slick, if sometimes silly and overly cliched, action romp which although is nothing entirely original or groundbreaking, still manages to be a worthwhile trip of high octane guilty pleasure. Praise the lord, we have a miracle.
Focusing on two teams either side of the law, each with their own questionable moral compasses and a penchant for steroid infused workouts, Den of Thieves undeniably pays a significant homage to Michael Mann’s 1995 crime masterpiece, Heat, in more ways than none, with the narrative essentially switching Al Pacino for Gerard Butler (300) and Robert De Niro for Pablo Schreiber (Orange Is The New Black), and whilst on paper such a switch seems similar to swapping Ferrari for Nissan, Gudegast’s penchant for style and solid eye for action set pieces and well orchestrated heist scenes means that within a overly similar tale of cops and robbers, the debutante’s movie packs a significantly entertaining punch and manages to hold your attention throughout its’ bulky two and a half hour runtime. With Butler actually managing to not be entirely god awful, with even the staggeringly underplayed bad boy lifestyle in which his character partakes failing to undermine his performance, and the rest of the high profile cast including O’Shea Jackson Jr. (Straight Outta Compton) and Curtis “50 Cent” Jackson (Southpaw) all giving a solid case for their inclusion, Den of Thieves is undoubtedly one of the surprises of the year, and even with a “I gotcha!” style ending which wouldn’t have gone amiss in Hustle, Gudegast’s movie is actually pretty darn good, and for someone who was sharpening their knife going into it, that’s damn fine praise indeed.