| Roadside Attractions | Release Date: August 12, 2022 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
32
Mixed:
6
Negative:
0
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Critic Reviews
At a time when few movies display either a shred of originality or a fresh slant on an old genre, and so many are little more than cookie-cutter derivations of each other, it’s energizing to see something as keenly observed and uniquely competent as Emily the Criminal. It’s a tense and engaging thriller that looks and feels distinctively different.
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In 95 minutes, Ford unfurls a gritty and suspenseful L.A. noir that also serves to examine the structural issues that uphold wealth inequality in this country. But Emily the Criminal isn’t trying to be preachy or political, it’s just authentic, and urgent, and Plaza’s performance keeps the emotional and physical honesty at the forefront.
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Emily the Criminal is the debut feature by John Patton Ford, who also wrote the script. He’s done a nice job here of ramping up the tension, without resorting to a lot of overwrought situations or melodrama. He keeps the story small and contained and the camera close on the characters.
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EmpireJan 25, 2023
The TelegraphOct 29, 2022
Much of the film’s success comes down to Plaza, who has left that deadpan sphinxlike mode of hers some way back in the rear-view mirror. Grit replaces irony, and it’s fascinating to watch her think her way through every predicament here, deftly and in detail, weighing the percentages.
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Emily moves among immigrants, fellow ex-cons, and people like Youcef who are striving toward some sort of financial legitimacy, even as she moves in the other direction. But she doesn’t show any sense of commonality with them, only fury that she’s been made to join them, which is the film’s most astringent aspect.
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The PlaylistJan 26, 2022
There are definitely some logical gaps in Ford’s screenplay and perhaps the consequences could be slightly more dangerous (intriguingly, guns barely appear throughout the proceedings), but as a filmmaker, he displays a keen awareness of racking up the tension when necessary and not overdoing it when it’s not.
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The finale of Emily the Criminal does not match the pulse-pounding scenes of her earlier assignments. However, it still manages to work toward a satisfying, logical conclusion while offering a solid critique of the gig economy many Americans face in which fortune is merely a credit card swipe away.
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While turning to a life of crime to get out of debt isn’t the most original concept, Ford’s decision to keep his camera on Emily’s face for most of the film elevates the material, for Plaza’s performance is the draw here. Her Emily is mad as hell and not going to take it anymore, and there’s a steely, unapologetic gaze in those huge brown eyes of hers. Plaza’s trademark twinkle remains, here cast with a crimson hue.
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What Emily the Criminal really is is a character study; and this is where Plaza comes in. She’s the really good thing the movie has going for it. Over the course of 96 minutes, Emily will do some surprising things. Plaza makes them seem as natural as swiping a credit card, and in both senses of the verb.
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Ford creates a title character, played by Aubrey Plaza, who seems to carry a world with her, and he sets the action in a shadow realm of workaday grifters which emerges in fascinating detail. Yet that core of cinematic power gives rise to a modestly engaging but undistinguished, mundane movie, one that speaks as much to the givens of film production as to Ford’s own ambivalent achievement.
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There’s a lot to sink your teeth into with Emily the Criminal, between its strong Plaza turn and a pitch-black moral core that refreshingly commits to the bit. But outside of those devilish comforts, a lot of Ford’s debut is frustratingly thin, more concerned with giving Plaza plenty of opportunities to bore through the screen with her eyes in extreme close-up than in really breaking down her psychology and the perverse romance at its center.
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While Plaza continues to make her case as a versatile A-lister capable of leading the more complex version of this kind of heist film, Emily the Criminal is a little like an initiation that never needed to happen. Her bonafides are proven. But it still stands as another showcase for her, as she shines even through its uninspired racket.
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