Crime Story
PARAMOUNTHow Richard Dreyfuss has managed to avoid the inevitable post-acclaim slump that most other stars find themselves flailing around in during their twilight period is strange. The Jaws and Close Encounters of the Third Kind star has picked projects almost on a whim but has benefitted surprisingly well. Although The Last Laugh and Polar were grim, understated projects, they were at least released on streaming giant Netflix. Astronaut may have been an independent Canadian feature, but it was light, fun and most importantly, enjoyable. His string of good luck was bound to end when either a streaming platform refused to put up with poor scripts or his hand turned to one bad action flick. Crime Story sets the record straight and sees Dreyfuss take a real blow to the filmography.
Even then, Dreyfuss is a lucky man. Despite the immediate problems of a relatively underwhelming director, Adam Lipsius, at the helm, Dreyfuss has managed to bag a decent role. He plays Ben Myers, an ageing ex-mob boss that has the benefit of starring alongside forgotten Academy Awards winner, Mira Sorvino. Eagle-eyed viewers may spot Pruitt Taylor Vince, the undersung performer notable for Father Hennesey in that Keanu Reeves-led feature Constantine. But Father Time has not been kind to anyone in this feature. He has scraped away their abilities and in turn, this trio of once dependable names are now shaky, uncoordinated and unsure of what to do. Much of that is the fault of Lipsius, but some blame must be cast out across the cast, solely because Crime Story is close to competent.
Unlike most of the action films released on the low-budget merry-go-round, Crime Story does have moments that feel real, lifelike and actually in touch with the characters. For all the slow and unrewarding build-up, the ending is the usual touching perspective of mortality and age. Dreyfuss appears comfortable and keen to dig deep into the disgusting areas previously absent from his career. Seedy apartment duels, convincing tussles with criminals and a stunning display of well-rounded character concepts. Crime Story may be surprising in its smarts at times, with Sorvino and Dreyfuss both playing well, but to what end? With them performing well, it is a devastating shame to see the script offer them both tetchy family drama and exceptional bits of emotive, driven action.
It is telling that the first piece of footage to appear in the film is not the film itself, but the names of those involved. A plain black background with “Richard Dreyfuss” in white text precedes narration from the man himself. As distant and non-specific that dialogue is, it, and much of Crime Story at least functions and whirs away. To its own pleasure? To the satisfaction of an audience? Neither. Full of generalities but at least the star that buoys this project is present for it at the key moments. Even then, he struggles through his lines. Dreyfuss feels unsure of himself and the delivery he gives. So is Sorvino. But that lacklustre style, that uncertainty, comes from the director behind Crime Story.