In Brief -- by Zachary McGhee
WHERE THE MONEY IS [Kanievska] -- Clever is the only word to describe the sheer veracity contained in watching Fiorentino, Newman, and, to a lesser extent, Dermot Mulroney, exchanging a silent -- or verbal, for that matter -- battle over *everything that Kanievska has set forth. I mean, it's just so c-o-o-l! I'm sure many of you cynics, who, y'know, don't know how to enjoy a movie, would say that the characters are lacking and the plot is a bit ludicrous, which I retort, to all you naysayers: And? Fiorentino's motivation may be simplistic, and the ending may seem too neat and tidy (as much as that can be under the circumstances of a bank heist), but that's how classic movies are made, right? I mean, when Paul Newman -- now three-quarters of a century old -- and Linda Fiorentino flirt with the romantic subtext, we really believe it, and why shouldn't we? It's a movie folks, and Newman is one darn fine actor. My one criticism: If one is ever to question the power of music, correct your inverted perception by attending this one: the score by one Mark Isham (who's work has been so-so for the last five years) is so horrendous and ultimately distracting -- like something made for the latest movie-of-the-week, if they still had those -- that it bumped this one down a notch. B+
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