Whether it’s a series of hotel rooms, car scenes, alleyways or garages, when a story is driven by genuine movie stars, we’re ready and willing to come along for the ride. Such stars have the ability to make any location feel enthralling, enigmatic and immersive.
This fundamental truth is unnecessarily put to the test in the comedic thriller “Wolfs”. The film is meant to be an exciting reunion of George Clooney and Brad Pitt, portraying charming characters with debonair personalities that manage to maintain their wit while navigating through dangerous scenarios. While this may remind us of the “Ocean’s” movies from two decades ago, it feels more like these experienced actors have been stuck in a repetitive cycle and are beginning to grow weary of it.
That’s not to say the actors don’t display brief moments of the sharp, lively dynamic that delighted audiences in the post-indie era. However, despite writer-director Jon Watts’ efforts to create opportunities for clever comedic antics, the film feels like a forced and lackluster attempt to recapture that old magic. Watts, who has been busy with the “Spider-Man” franchise for some years now, is no match for Steven Soderbergh, who truly understands how to magnify the talents of movie stars.
Surprisingly, despite a promising start with a crash, a cry, a body and a frightened District Attorney (Amy Ryan), it takes “Wolfs” a significant amount of time to really get going. Concerned about her career but armed with a lifeline phone number, the DA calls on Clooney’s lone ranger character: a serious, prepared fixer. Then, without either knowing, the hotel’s go-to problem solver (Pitt) turns up; he too is a lone wolf. The two men, having never met, immediately take a disliking to each other. But, when things get more complex and they discover a stash of drugs in the room, Frances McDormand’s character (the hotel’s manager) insists they work together. We don’t ask why.
Why is this setup so dull initially? When Ryan’s character exits the scene (and is sorely missed), it becomes glaringly apparent that the stakes in this all-night adventure are rather low. The drugs serve as an unimpressive plot device, there’s no discernible antagonist, and chasing a clueless kid (Austin Abrams) through Chinatown after hours doesn’t make the mystery any more compelling. Indeed, referring to the plot as a mystery might be a stretch.
This leaves us with the charm of Pitt and Clooney, a middle-aged but captivating duo, to hold our attention. They are the only constants as they see the job through, whatever that job may be. With Ryan’s character exiting early on, it’s never fully clear. Okay, perhaps it is a mystery after all.
Despite this, what Clooney and Pitt bring to the table, whether in their deadpan expressions or their occasional outbursts, whether looking bored or engaged, is still superior to much of what counts as on-screen charisma today. Towards the end, there’s a not-so-subtle reference to a well-known screen duo from the past and one of their iconic farewells. It fits, although perhaps not in the way Watts intended. Because the only real takeaway from a nonchalant movie like “Wolfs” is to appreciate these stars for being such delightful and handsome company, especially when everything else falls short.
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My name is Alex Carter, a journalist with a deep passion for independent cinema, alternative music, and contemporary art. A University of California, Berkeley journalism graduate, I’ve honed my expertise through film reviews, artist profiles, and features on emerging cultural trends. My goal is to uncover unique stories, shine a light on underrepresented talents, and explore the impact of art on our society. Follow me on SuperBoxOffice.com for insightful analysis and captivating discoveries from the entertainment world.