THE RIP. When asked if we really “need” another crooked cop heist movie, I suspect most casual viewers — even cineastes — would say no. As a bit of a dork (I still haven’t earned the nerd title) and a basic genre enthusiast, I would argue that while we may not need it, a crooked cop heist movie, especially if well executed, is both a pleasant distraction and an effective broadside against the homogenization of cinema culture. Caper pictures, whodunnits and procedural corruption thrillers used to be a major part of the stock-in-trade of American movies. Before even my geriatric time, they were called “programmers”: reliable, sometimes formulaic exercises in proven genres that would satisfy audiences, if not surprise them. Like monster movies, slashers or, now, regurgitative superhero stuff, they offered both predictable time well-enough spent and the possibility of pleasant surprises. Beyond that, they were often an opportunity for filmmakers, veterans and newcomers alike, to exercise some of their artistic tendencies within a familiar framework. They were often pretty standard fare and, as a result, many have been lost to time and now displaced by more consistent earners. But done well, they can stand among the most satisfying, stylish and (if you’re like me) comforting examples of modern popular art and entertainment.
It’s uncommon to find such artifacts at the multiplex, but the movement is still alive, if not entirely well. They have become the programmers of the new media, either relegated or elevated (depending on one’s perspective) to the myriad streamers with which we are burdened and blessed. As ever, I do not intend this as a defense of corporate greed, the centralization of media or the erosion of the collective enjoyment of the moviegoing experience. But, as ever, I am here to celebrate good stuff when we get it; I think The Ripis good stuff.
Written and directed by Joe Carnahan (Narc, 2002; The Grey, 2011), who, as a vestige of a bygone era and contrary to some of the more odious tendencies of his industry, continues to make engaging, interesting work, The Rip is “inspired by true events” (dog-whistle, to be sure) and takes place among the run-and-gun narco-police of Miami-Dade County. In the opening moments, the well-respected captain of the city’s Tactical Narcotics Team is gunned down, execution style. Her squad, rattled but resolute, is dogged by accusations of corruption and troubled by rumors of clandestine cop heist crews. Working from a vaguely attributed tip, their newly promoted lieutenant Dane Dumars (Matt Damon) leads his team to a purported stash house, where things, recriminations included, immediately escalate. There’s too much money, too much heat, not enough oversight and everybody is a suspect; it’s a pressure-cooker that could get everybody killed.
As the extent of the titular rip (the stash) becomes clearer, sergeant J.D. Byrne (Ben Affleck) becomes increasingly suspicious of both his commanding officer and the circumstances surrounding their discovery. The occupant of the house in question (Sasha Calle), an unwitting accomplice to major crimes, fears justifiably for her life. And the rest of the detectives, played with spot-on fire and stoicism by Teyana Taylor, Catalina Sandino Moreno and Steven Yeun, are caught in a lethal situation, off the clock and without paid overtime, in which infighting seems inevitable but could be a death sentence.
Again, being of a certain age, it does my old heart good to see Damon and Affleck together onscreen, not least because I’ve been following their ambitious arc since they got their shot at the big time with Good Will Hunting (1997). Superstardom has proven a fickle master, but they’ve weathered it pretty well. And they are actually committed to making movies they think people will enjoy. Like Carnahan, they’re holdovers of a sort and dedicated to what has become an embattled artform. And in this case, they are provided the opportunity to get after each like an old married couple within the framework of a concise, often humorous, handsomely arrayed genre picture. It certainly isn’t the kind of thing that foments cultural change, moves the collective critical needle or qualifies for awards consideration. But it is a cinderblock-solid example of a type of filmmaking the mainstream (read: big money) syndicates rarely deign to grace us with. It rises beyond the constraints of genre and corporate-imposed expectation to yield something engrossing and quasi-magical in its “more than the sum of its parts” totality.
Is that hyperbolic? Sure, probably, and it obviously speaks to my taste and predilection rather than to some “objective” standard. I am very much OK with that. R. 112M. NETFLIX.
John J. Bennett (he/him) is a movie nerd who loves a good car chase.
NOW PLAYING
Due to the holiday, updated listings for Broadway Cinema were not available at press time.
28 YEARS LATER: THE BONE TEMPLE. Next leg of the journey for the post-apocalyptic zombie horror. R. 109M. BROADWAY, MINOR.
ANACONDA. Buddies (Paul Rudd, Jack Black) on a DIY movie remake mission are pursued by the title character. PG13. 100M. BROADWAY.
AVATAR: FIRE AND ASH. Na’vi-on-Na’vi violence in the latest installment of James Cameron’s sci-fi action franchise. PG13. 195M. BROADWAY (3D).
CHARLIE THE WONDER DOG. Owen Wilson voices the superhero pet in an animated adventure. Not for cat people. PG. 95M. BROADWAY.
DEAD MAN’S WIRE. A 1970s hostage drama based on a true story and with a dark sense of humor. R. 105M. BROADWAY.
FIVE NIGHTS AT FREDDY’S 2. Sequel to the Chuck E. Cheese-esque animatronic horror. PG13. 104M. BROADWAY.
GREENLAND 2: MIGRATION. Gerard Butler and Morena Baccarin in the sequel to the eco-apocalypse disaster movie. PG13. 98M. BROADWAY.
HAMNET. Agnes and William Shakespeare cope with the loss of their son in 16th century England. PG13. 126M. MINOR.
THE HOUSEMAID. Amanda Seyfried and Sydney Sweeney in a thriller about weird dynamics with the help. R. 131M. BROADWAY.
IS THIS THING ON? A couple (Will Arnet and Laura Dern) cope with divorce and the husband turns to stand-up. R. 124M. BROADWAY.
LORD OF THE RINGS. Extended versions of the already very long Peter Jackson adaptations on the 25th anniversary. PG13. BROADWAY.
MARTY SUPREME. Timothée Chalamet plays a ping pong champ in the 1950s, when that kind of thing apparently got you laid. R. 150M. BROADWAY, MINOR.
SENTIMENTAL VALUE. Stellan Skarsgård, Renate Reinsve and Elle Fanning star in a story about the strained relationship between a famous actor and his daughter. (Sunday showing with cast interviews.) R. 133M. MINOR.
THE SPONGEBOB MOVIE: SEARCH FOR SQUAREPANTS. Your favorite boxy hero takes on the Flying Dutchman’s ghost. PG. 96M. BROADWAY.
ZOOTOPIA 2. Ginnifer Goodwin and Jason Bateman return to voice the rabbit and fox crimefighting duo in the animated comedy adventure. PG. 108M. BROADWAY, MINOR.
For showtimes, visit catheaters.com and minortheatre.com.