Triple 9
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Triple 9

What explains the presence of such a stellar group of actors in a starless movie like this? Casey Affleck, Chiwetel Ejiofor, Anthony Mackie, Aaron Paul, Happy Death Day Woody Harrelson, Kate Winslet, Gal Gadot, Teresa Palmer … Having such interpretive power to tell a rather typical story of corrupt robberies and policemen would be like signing Ferran Adrià as head chef of a Telepizza. That is, it is an overqualified distribution. But wow, we all have bills to pay.

The director, John Hillcoat, certainly must have done an extraordinary job in matters such as organizing agendas and managing egos but, seen on the screen, in none more. His is a frustrating case, for two reasons. First, because his films have almost everything to be extraordinary – great artists, haunting atmospheres, inventive violence, a lot of visual style – but until now, in the best of cases – the ‘neowestern’ ‘La propuesta’ (2009), post-apocalyptic dystopia ‘The road’ (2012) -, have not gone by quite well.

Second, because his career has gone from Deepwater Horizon more to less. If the moral complexity and existential despair contained in his first films was less visible in ‘Sin ley’ (2012), now it does not appear: ‘Triple 9’ is too shackled by the badly digested influence of ‘Heat’ (1995) – Is there a movie of robberies of the last two decades that does not try in vain to resemble that of Michael Mann? – and, above all, trapped between its B-series genes and its serious film airs to bring true specific weight.

Specifically, it has the contours of a complex story about family and guilt and honor, but it does not work as such because those issues do not become more than the mere alibi of what is, neither more nor less, a more criminal intrigue. Truffled with several action sequences impeccably shot and many other moments of those that make you nail your nails Lady Bird to the armrest of the armchair. The characters are too engrossed in a narrative too busy for the story to go beyond.

Duration: 115 min

Release:

IMDb: 6.3

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