Starring: Jude Law, Richard E. Grant, Demian Bichir, Emilia Clarke
Directed By: Richard Shepard
MPAA Rating: R
Running Time: 93 minutes
Our Score: 2 out of 5 Stars
Jude Law struts and blusters around the screen as a Cockney safecracker who’s just been released after twelve years in prison in Richard Shepard’s Dom Hemingway. The title character makes for a lot of fun and a surprising performance from Law however it’s undercut by an episodic script that doesn’t really know what to do with all its characters, least of all Dom.
Dom’s angry that he’s spent so much time in jail but his objections are foggy from the get go. Immediately he beats the bloody pulp out of his dead wife’s second husband, but then he’s remorseful over being estranged from his daughter (Emilia Clarke), but then that thread is dropped so he might go off and attain reparations for his prison time spent protecting crime boss, Mr. Fontaine (Demian Bichir, who is no more threatening than Dos Equis’s Most Interesting Man in the World character). But first Dom must go on a three day binge of coke and hookers.
Like most things in Dom’s life, his meeting with Mr. Fontaine goes awfully and is spent alternately yelling at the crime boss for money while lusting after his girlfriend and then apologizing for the yelling and the lusting at the behest of Dom’s partner in crime, Dickie (a wonderful Richard E Grant whose judgmental looks deserved more screen time.) This meeting features some of the film’s highlights including Grant chasing a nude Law through an orchard and a spectacularly over the top car crash scene that the remainder of the film can’t live up to.
For some reason the car crash is the near-death experience that rewires Dom into wanting to make amends with his daughter. It’s here where the movie is most problematic as it attempts to balance the deadbeat father-daughter dynamic with the larger than life criminal who’s more compelling when behaving badly. Additionally, it’s hard to believe that this character hasn’t had many near-death experiences in his mess of a life so what made this one so different? The film’s never quite clear on this and an outrageous sequence where Dom attempts to regain his safecracking infamy doesn’t help sell the angle that Dom would ever make good on going straight for his family’s sake. Shepard appears to think that the mere fact that Dom has a dead wife and an estranged daughter is reason enough for the audience’s sympathy without doing anything to actually earn it.