Every so often we get movies that try to capture the magic of Sidney Lumet’s A Dog Day Afternoon but wind up looking either like artificial constructs like Now You See Me, or rehashed versions of other, better crime capers dating back to the 1950s. Ariel Winograd’s The Heist of the Century (El robo del siglo) treads a middle ground between crowd-pleasing and rehash but is mainly a solid two hours of entertainment. Its story, like Dog Day, is based on true events. On a hot summer day in 2006, a group of thieves led by Fernando Araujo (Diego Peretti)_and Luis Mario Vetetti Sellanes (Guillermo Francella, last seen in 2015’s The Clan) execute one of the greatest heists ever in Argentinean history. How they orchestrate such a massive break-in I’ll leave you to see for yourself, because it is as insane as it is audacious and often times flat-out funny. Winograd keeps the action constantly pumping with little time for contemplation and draws his pack of conspirators in enough of a sympathetical light to keep some focus on the men instead of rooting for the cops to eventually bring their shenanigans to a halt. If the story itself falters, it’s that once you realize that everyone involved will eventually meet their moment of justice, you start to forget the movie altogether. I had a hard time truly relating to the events of the film shortly afterward, which is probably due to having seen so many movies of the same kind over the years. It says something when the only movie I can recall almost scene-by-scene is Lumets, but then, Dog Day is a classic all its own. [C]
When we meet Bruno (Sandi Pavlin), he’s trying to borrow a bike from a woman minding her own business because he is trying to get home to his dog. It doesn’t take long for us to realize that Bruno has escaped the senior-citizen home, and judging from the faces of the attendants coming in to take Bruno back, he’s done this thing before.
Later on we see him again, observing an. elegant older woman as she enjoys some exercise that ends when the sprinkler system goes off and she, instead of leaving, lets the water rain down on her as if in a blessing. Duša (Silvia Gušin) and Bruno start a tentative friendship although at times she seems a bit prickly, as if she wouldn’t remember him but does. A shared bond over a song develops, but they continue to meet over and over again for the first time.
Shades of Away from Her and The Mole Agent are all over Sanremo, and I mean that in a good way instead of looking for a cheap comparison. Sanremo establishes rather firmly that Bruno suffering from dementia and his repeated attempts at escape only make matters worse for him. He has a loving but strained relationship with his visiting daughter, who is conflicted with the sale of a house that contains so many memories. And of course, there is the presence of Duša, who gives Bruno a fleeting sense of hope.
Miroslav Mandic’s movie is one of great compassion for its characters. While we get that they have to be treated with a somewhat firm hand by the staff members of the home, it never deviates into potential cruelty. The look of the movie is desaturated, with dense fog opening the story. The fog may be an on-the-nose symbol of the state of Bruno’s mind, but an increased clarity in scenes and a gorgeous but somewhat surrealistic finale indicate that Bruno may have reached a sense of closure, even when his character winds up in a rather odd place. [B]
Arriving from New Zealand is a mockumentary in the style of Taika Waititi and Christopher Guest movies called This Town. Written and directed by David White, This Town tells the story of Sean (White again), a young man wanting to find true love and settle down. It’s just that he’s got a little bit of baggage which might be a deal-breaker. Several years ago he was not found guilty of slaughtering his entire family; however, just because a judge ruled in favor, it still doesn’t clear you of the crime. Or so Pam (Robyn Malcolm) thinks. She’s the former sheriff hot on his trail who’s turned her entire house into a network of clues and news clippings and recordings on 8-track in a last-ditch effort to nab Sean for good.
While Pam slowly manages to tie up the knots on her boundary-pushing investigation, Sean finds love with Casey (Alice Connolly). However, the town doesn’t do much to stand in between Sean and his rebuilding his life. This somewhat amounts to a bit of a problem in a movie that is often funny but not laugh-out-loud hilarious. Midway through, the movie loses a bit of steam and it seems as though perhaps it might be stretching itself a bit thin in order to meet a runtime. Even the comedic presence of Rima te Wiata — always welcome — feels a bit misguided and forced. By the end, once the end credits roll, I was having a bit of a time remembering White’s movie mainly because after a strong beginning it just didn’t know where to take itself and kept relying on too much of Malcolm to keep the conflict up. That in itself makes me rate This Town a C.