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Trust Weighted
Good
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66Trust Points
Wick's Review
Summary - Good 3.0
I’ve been a Kurt Russell fan since The Computer Wore Tennis Shoes, making him perhaps my favorite moviestar. He’s played Elvis, he’s played the last living man on a polar mission, he raised Kate Hudson after “marrying” my favorite comedienne Goldie Hawn and he’s still worth watching. Crunch Calhoun is classic Kurt Russell, even in his 60s. Add in Matt Dillon and The Art of the Steal doesn’t lack star power.
What it lacks is originality and purpose, beyond providing a star-vehicle for Russell & Dillon.
Yet writer-director Jonathan Sobol’s movie easily exceeds its low aspirations. It also has an LOL or two.
Never seen that woman before.
Before yesterday.
The movie peaks early, with Russell-in-jumpsuit doing Elvis moves. It’s a pity it can’t keep it up.
Acting - Good 3.0
Kurt Russell plays Crunch Calhoun – classic Kurt Russell. Crunch is a Kurt kinda guy grown kinda old, a moviestar-role tailor-made for Kurt Russell. I first idolized him in The Computer Wore Tennis Shoes, then was taken with him as a man’s man in The Thing and a funny guy in Big Trouble In Little China. He pretty much needs to wear shades now, not cause his future’s so bright, but cause his road’s been so long.
Matt Dillon plays his half brother Nicky Calhoun. Dillon never reached Russell territory, but got pretty damn close, so he holds up his end of the hyper-masculine bargain.
- Jay Baruchel as Francie Tobin: First of all, his poseur character’s name is Francie. FRANCIE. Baruchel mostly bleats out “What the fuck?” He should have asked that about his character’s name. The guy’s got the luckiest career in Hollywood, like Shia LaBeouf without taking a punch.
- Katheryn Winnick is a fairly unmemorable Lola.
- Kenneth Welsh engagingly plays horny ‘Uncle’ Paddy MacCarthy.
- Chris Diamantopoulos as a French thief
- Jason Jones as feckless asshole Interpol Agent Bick
- Terrence Stamp as a big time art thief leashed to Interpol
Male Stars - Great 4.0
Female Stars - OK 2.5
Female Costars - OK 2.5
Male Costars - Barely OK 2.0
Film - Good 3.0
Jonathan Sobol’s film is full of satisfying grins and occasional LOLs, even if it’s nothing more than a commercial vehicle.