Greedy People, 2024.
Directed by Potsy Ponciroli.
Starring Himesh Patel, Lily James, Joseph Gordon-Levitt, Traci Lords, Tim Blake Nelson, Uzo Aduba, Simon Rex, Nina Arianda, Jim Gaffigan, José María Yázpik, Joey Lauren Adams, Neva Howell, Art Newkirk, Khetphet Phagnasay, Michael Harding, Travis Przybylski, Yingling Zhu, Kevin M. Brennan, Kermit Rolison, David Pascua, and Tamara Hopkins.
SYNOPSIS:
Follows the residents of a small island town who must navigate a sensational murder and the discovery of a million dollars, a series of increasingly bad decisions upend the once peaceful community.
With the title Greedy People, complex characterization and motives are likely something that will be left off the table in director Potsy Ponciroli’s knowingly preposterous crime caper that involves everything from incompetent small-town police officers, a mysterious bag of one million dollars, competing hitmen, adulterers, and objectified male masseuses. Set in Providence, this is supposedly a town where nothing actually happens (giving the officers ample time to take unofficial breaks to have sex with a married woman or the stereotypical coffee and doughnut stops), yet nearby are mailboxes positioned directly opposite one another for assassins known as the Columbian and the Irishman (a visual gag that got a good laugh out of me), both of whom have been fighting for client supremacy over the territory.
Such logistics and details don’t make much sense here, but in a strange screwball way, the character motives do, making for a wickedly fun Tarantino-style ripoff that eventually outstays its welcome and closes with more of a whimper than a bang. The film (from a screenplay by Mike Vukadinovich) is hilarious early on, introducing viewers to a new resident and rookie officer named Will (Himesh Patel) partnered up with the irresponsible loudmouth Terry (Joseph Gordon-Levitt), who ends up leaving him tackling a call by his lonesome. There is a miscommunication of sorts that leaves a woman dead, with the police officers discovering a bag of money once they reconvene and figure out how to handle the situation. From there, they decide to frame the death as a murder to be pinned on another local while they stash away the cash and agree to split it when the heat dies down.
The death itself goes down somewhat clunky, which is forgivable because it is simply an inciting incident meant to spring forth shenanigans surrounding a hell of a lot of money, bringing in many more wacky characters into this oddball orbit. And while Will and Terry interview the various zany characters doubling as potential framing candidates, several other related mysteries emerge, namely that it appears the woman was already set to be murdered by one of the assassins. This means that everyone from the sleazy masseuse (slimeball king Simon Rex) to the bewildered but not immensely grieving husband (Tim Blake Nelson) might be hiding something. Meanwhile, the hitmen (played by José María Yázpik and Jim Gaffigan) provide bursts of violence and wisdom.
Will’s wife (Lily James) is unpacking and painting at home and is also on the verge of giving birth to her and Will’s first child. Without giving too much away, mind games begin brewing between the three major players regarding how much they can trust one another. Unsurprisingly, comedy also takes a sinister turn into cruel threats and the walls closing in on their mess. That’s primarily because the captain (Uzo Aduba), a well-respected, intelligent, and hard-working woman with a tragic backstory and a sixth sense that both a literal and figurative storm is coming, is determined to get to the bottom of what went down at the house.
One would be hard-pressed to say that the twists and turns are necessarily surprising or that every shift in perspective (each given a chapter title) is successful, but the filmmakers and ensemble embrace a goofball energy that makes the proceedings effective on a comedic and dramatic wavelength. There is a sense of urgency and plenty of reasons to fear that any of these characters could bite a bullet at any given moment, which works in tandem with that line between comedy and danger skillfully blurred over time. The chemistry between Himesh Patel and Joseph Gordon-Levitt is also a riot; neither officer is remarkably competent, but their clashing personalities consistently elicit laughs, with the latter fittingly chewing the scenery.
It’s disappointing that Greedy People eventually fizzles out into awkward fade-to-black character shifts and jarring deaths that lack the shock and intensity a film like this needs in its execution. Still, the animated ensemble assembled and impeccable comedic timing from magnetic presences give everything the spark that keeps the film a blast while marginally covering up flaws. It’s far from perfect, but I suppose expecting such would be too greedy.
Flickering Myth Rating – Film: ★ ★ ★ / Movie: ★ ★ ★
Robert Kojder is a member of the Chicago Film Critics Association and the Critics Choice Association. He is also the Flickering Myth Reviews Editor. Check here for new reviews, follow my Twitter or Letterboxd, or email me at MetalGearSolid719@gmail.com
