Watching George Clooney and Brad Pitt offer each other knowing glances and then engage in moderately entertaining yet pointed banter is one of the greatest pleasures in cinematography. While the two have starred alongside each other in multiple films, the chemistry stuff mainly happens in “Ocean’s” films directed by Steven Soderbergh. (Among other co-starring projects, the duo worked together in the 2008 Coen Bros’ flick ‘Burn After Reading,’ which sadly, does not allow these two characters to fully introduce themselves to one another.) No one seems to be booking such movies anymore, but “Wolfs” has retained the recipe, even if its antagonistic main characters don’t have names, and like everything hyphenated, it works to try and give Rusty and Danny some of that ol’ feeling.
The Last White Male Movie Stars and the Last White Old Male Movie Stars: these labels seem to mean so much more to Pitt, Clooney and their generations than the middle-aged actors wearing pajamas on set. By those lines alone, they only ‘grace’ the film With Adorable Old Fools. One part of the movie, The Avengers, exhibits the two actors labeled as “cleaners for hire” being involved in a rather random yet dry form of compelling draft. Remember the commercial with George? He was in a sleek leather jacket, latex gloves and an advanced tool of his trade already used turmle neck sweater and frolicked happily. Meanwhile, an ambitious politician in need of help was found deeply asleep in bloody trousers sitting in her hotel room. Ad Aderall was shared among all actors while Ryan was screaming in despair. In a frenzy, George cleaned this mess and while doing so forgot who was cleansing the corpse and who was masquering as the saviour. What a mess.”
Austin Abrams is known more commonly by his stage name “Kid,” and in his character’s world, he is controlled by these men who rule over him and deeply horrifies him. Paradoxically, he is left speechless in being a mere spectator. Up until McDormand’s impressive voice over or Kind’s outstanding acting, “Wolfs” serves as a duet tribute in coolness to its two principal actors. It is not until much later that the dispute they were having over cleaning turns out to be much more animated in nature than what was initially believed. The dialogue that exhibits the twins squabbling over the potential of a ‘magic drug’ makes the film very hard to take seriously, which is exactly what it intends to achieve in its experimental format of comedy.
The Hershey and Murderous Albanians on a hunt for the bricks opioids add to the already humorous plot. That is what sets this film apart, the numerous innovative ways the plot unfolds alongside the attempted escapes, leading to a chaotic chase across New York. A spectacle that some days gets you on the edge of your seat when it doesn’t go too far is what this film captures. Did Fox go overboard? Absolutely not, a round of applause should be given to the locations coordinator and his crew. More apropos truces in post deceptive location settings and while Dame are more known for the conspicuous slashing violence that Watts is reminiscent of, Fox’s nimbleness devoid all sense in a very comical way.
This is not a trifle or an actual Major Motion Picture; rather an entertainment similar in the manner to how Graham Greene described it. But, a person doesn’t need to be so hifalutin. The fact is, it brings a smile to hear Clooney say, for the umpteenth time, “What’s the play here?” and later on, Pitt complains, “I don’t work that way.” And, those with deep-cut appreciation will enjoy the mini-tribute to the producer Jerry Weintraub from Ocean’s who then turns into a super fan of Sinatra.
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