A miserable conman and his partner pose as Santa and his Little Helper to rob department stores on Christmas Eve. But they run into problems when the conman befriends a troubled kid, and the security boss discovers the plot.
Billy Bob Thornton,
Two whimsical, aimless thugs harass and assault women, steal, murder, and alternately charm, fight, or sprint their way out of trouble. They take whatever the bourgeois characters value: ... See full summary »
When a mutual friend is killed by a mob boss, two con men, one experienced and one young try to get even by pulling off the big con on the mob boss. The story unfolds with several twists and last minute alterations. Written by
John Vogel <firstname.lastname@example.org>
Writer David S. Ward taped a five-minute pitch of the project, but refused to reveal the ending until the producers read the entire script. See more »
As Hooker flees Snyder under the El, a modern car and box truck can be seen in the distance ahead. See more »
You see that fella in the red sweather over there? His name's Donnie McCoy. Works a few of the protection rackets for Cunnaro when he's waiting for something better to happen. Donnie and I have known each other since we were six. Take a good look at that face, Floyd. Because if he ever finds out I can be beat by one lousy grifter, I'll have to kill him and every other hood who wants to muscle in on my Chicago operation.
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The opening animated logo for Universal Pictures is in 1930s style, matching the movie's setting, instead of the 1970s version. See more »
This film deserved every Oscar thrown at it. It looks good, it's funny, it's extremely complex but doesn't dwell on the fact for a moment: if you can spot the twists, you haven't got time to sit back smugly as they pop up - everything rushes on. The acting's good as is the story, one carrying the other. I can't think of a movie where people so obviously had as much fun - maybe (Soderbergh's) Ocean's Eleven, or even Some Like It Hot? The soundtrack is brilliant too, contemporaneous Joplin rags evoking the time and its contradictions artlessly.
The bit that raises this film the one notch higher though is a short, central sequence, in which the music plays as high profile a part as any character or narrative aside. It's the night before The Sting and Redford is drawn to the drugstore girl who's trying to leave town. Perfectly framed by the bittersweetest of the blues/rags he asks her out for a drink - revealing his vulnerability for the first time in a movie where everybody's pretending to be someone else: 'It's 2 o'clock in the morning and I don't know nobody.' Despite all the caper and thrill of grifting all he wants is what we all want. It's a rich, compassionate heart to a virtuosic piece of film-making. 9.5/10
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