Smokin’ Aces is a movie that desperately wants to be liked. Not by your typical mainstream moviegoer, however. No, Joe Carnahan’s follow-up to his well received Narc is feverishly adamant about being adored by the frantic film geek contingent – the mélange of messageboard taste makers who determine their own individual aesthetic criteria by what Quentin Taratino determines is cool on his MySpace page. It’s the cinematic equivalent of the slightly introverted dork who walks around the high school cool kids bragging about his accomplishments and contacts. By faking and fronting, this movie hopes to grab their attention and earn an uneasy place in their crime genre lovin’ hearts.
It’s just too bad then that the director decides to win their praise by overplaying his obvious and rather obscure hand. Part of the problem is in the story itself. Smokin’ Aces (released on DVD by Universal on 17, April) rests its entire effectiveness on our desire to empathize with and/or outright despise its amoral center, a sleazy Las Vegas magician named Buddy “Aces” Israel. Brought to remarkable life by Entourage‘s Jeremy Piven, this miscreant mobster wannabe is ready to rat out the entire West Coast syndicate, and a substantial bounty has been placed on his head (and, oddly enough, his heart). Naturally, word gets out on the street that the successful assassin will earn themselves $1 million large, and before you know it, every noted nutcase with a comic book persona and a wealth of heavy artillery is headed towards Israel’s Lake Tahoe penthouse suite. Their goal? Pump this putz full of lead – and various other projectiles- before the Feds can speed him off to Witness Protection.
Thus begins the parade of peculiar cartoon characters and lean mean action movie archetypes. Carnahan is not out to manufacture realistic, three dimensional thugs. Instead, he decides that a heightened sense of stature, a caricature perhaps, would be the best way to envision his wild and wooly villains. This means we get ghetto gangbusters Georgia Sykes (a decent Alicia Keyes) and her slightly Sappho backup, Sharice. There’s also the slightly homosexual redneck retards The Tremor Brothers. Played by Chris Pine, Kevin Durand and Maury Sterling, they’re like the Three Stooges on speed metal and too many episodes of Jackass. Toss in the torture expert Pasquale Acosta, the master of impersonation Lazlo Soot, and a trio of bewildered bounty hunters led by a seedy Ben Affleck, and you’ve got a considerable cast of crackpots.
On the side of good, Ryan Reynolds and Ray Liotta are fast talking FBI agents, their partnership so focused and single minded that they more or less finish each other’s thoughts. Their boss is Andy Garcia, a stuffed shirt hiding his bureaucratic bluster within an air of suave seriousness. There are ancillary people props as well, including a heard but not seen Alex Rocco, a Ritalin addicted brat who speaks like a rapper, and a collection of slight and sketchy human odds and ends. Everyone’s status as incomplete ideas wouldn’t be so bad if Carnahan had set them up inside one of those wonderfully impractical macho mania movie narratives. You know the kind – an impenetrable fortress, a series of video game like challenges to be met and overcome, the sense that defeat is just around the corner while victory is almost always assured. Had Smokin’ Aces been so intricate and innovation, the flat features of its cast would fit right in.
Instead, we find our attention wandering during many of the so-called set pieces. We watch Alicia Keyes’ Georgia and try to decipher how she started her life as a hired gun. As the Tremor Brothers grapple with each other and constantly fidget with their privates, we speculate on how these Deliverance style bumpkins became such in demand daredevil thugs. Even as round after round of ammunition is dumped into situations, when muzzles are flashing and sparks are spraying in eye and mind appealing slow motion, we never once feel connected to the chaos. That’s because Carnahan is merely pretending to play visionary. In truth, he’s just riffing on those filmic forefathers that created and confounded the formulas he’s fooling with, which makes the arm’s length ideal that much stronger.
This doesn’t mean that Smokin’ Aces is unwatchable. Hardly. There are specific scenes and individual moments that stand throughout as examples of the movie’s many facets – comedy, action, homage and spectacle – coming together in amazing statements of artistic clarity. When the backstory on Buddy Israel is offered, it’s many Las Vegas insider elements revealed, we feel the dizzy glitz of the city where any and all sins are meant to stay secret. Similarly, each hit man (or woman) gets a nice little illustration of their skills, and this helps to make Soto, the Tremors, and Acosta into viable evil. As the moral center of the story, Reynolds gets a couple of fantastic visual moments. One comes as he leaves the hotel, the attempt to protect Israel botched by a dozen intervening elements. As he walks into the daylight, the sun literally absorbs his outline, losing his fixture as a hero in a cloud of dazzling whiteness.
Reynolds’ second scene brings the film to a close, and after the half-baked denouement we get for all the gunplay, it’s a very dramatic and very necessary sequence. Yes, Smokin’ Aces wants to give us one of those gobsmacking, jaw-dropping twist endings, a conclusion that cancels out and changes everything we’ve seen before. Unfortunately, only the dimmest of cinematic sleuths would miss the obvious clues to the reveal, and though he intends it to be insightful, Carnahan’s finish just kind of lays there, doing very little to alter our perceptions. It’s like learning that there’s no Santa Claus, or that Dr. Pepper doesn’t contain prune juice. For all it’s attempted kinetic energy, Smokin’ Aces can’t help but resemble an urban legend that’s been left out in the public consciousness for far too long.
And the recently released DVD does little to alter that suggestion. Universal deserves credit for creating a technically sound (nice image and audio), fully supplemented package that draws us into the various facets of this film’s production. Two commentaries expertly illustrate the somewhat schizophrenic nature of the film. Carnahan and his editor Robert Frazen discuss the actual shaping of the storyline, mentioning scene by scene what was filmed and how it was tweaked in the cutting room. A second track with Carnahan and a few cast members (no one significant) is just an excuse to joke around and mock the other actors. The deleted and extended scenes clarify very little, while the “explosive alternate ending” advertised on the package is nothing more than gunshots substituting for nuance. The best material offered is a trio of backstage featurettes, all of which illustrate how determined and delighted Carnahan is to be working on this, his first major motion picture.
It’s a shame then that the results weren’t more magical. Smokin’ Aces stands somewhere between the creative crack attack of Crank, and the testosterone fueled freak out of the WWE’s The Marine. It’s not the highest octane thriller in the entire post-modern motion picture paradigm, but it sure doesn’t crackle and snap like it should. It could be a case of too many character kooks spoiling the body count broth, or a filmmaker so filled with ideas that he doesn’t know how to successfully streamline his approach. Whatever the case may be, you’ll enjoy the various overly aggressive face offs while wondering aloud just who in the heck these oddball people really are. While Buddy “Aces” Israel may be the center of a murderous maelstrom, pitting mobsters against maniacs, he remains the core enigma of an entertaining offering that just can’t fit in – not within the creative OR commercial cliques.
// Notes from the Road
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