Nine Queens was a subtle Argentinean gem about a pair of con artists jostling for a prize. One was an established crook who enlists the help of a younger punk to help in the sale of counterfeit art. It packed a hefty, refreshing punch in a genre replete with twisty turns and too-clever narratives. The ace was in defining character over plot, absorbing viewers with the motives of the players rather than their actions.

Criminal is a near-copy remake in which the action has been moved from Buenos Aires to Los Angeles. Gregory Jacobs’ film is given a boost by the behind camera know-how of producer Steven Soderberg whose Oceans Eleven and Twelve trod not dissimilar ground. Casting John C. Reilly (The Hours) and Diego Luna (Y Tu Mama Tambien) as the treacherous pair completes the picture. Reilly has the necessary gravitas while Luna looks every bit the naïve immigrant to convince us and them of their assumed identities. Given the strength of the source material it would be hard to make a mess of Criminal and Jacobs does a fine job. There’s a talkiness that, Los Angeles notwithstanding, is tiring but thankfully loosened by the engaging cinematography of Chris Menges (The Killing Fields). The picture really hits its stride with the introduction of Reilly’s put-upon sister (Maggie Gyllenhaal) who pushes his amorality and Luna’s sense of right.

While this cache is almost squandered in a hasty ending, the film makes up for its weaknesses with stylish delivery and performance. Criminal is certainly an imitation of Nine Queens, yet an eye-catching one for those yet to see the original.

// COLIN FRASER