King of Thieves (2018)

Review

108min

Genre:       Fact-based, Crime, Drama

Director:    James Marsh

Cast:         Michael Caine, Charlie Cox, Jim Broadbent…and more

Writers:     Joe Penhall and Mark Seal

-Synopsis-

Wallowing in the tranquillity and dullness of their twilight years, a geriatric group of retired London crooks reunite to form a crew and pull off one of the biggest jewellery heists in British history—as director James Marsh gathers an all-star British cast for this dramatisation of the Hatton Garden robbery.

After decades of guiding and adapting dramas, biographical stories and documentaries for the big and small screen, Marsh (Man on Wire, The Theory of Everything) wrangles combined centuries of acting experience for a lightly-toned look at an unlikely and extraordinary recent British crime, with plenty of East-End edge and occasional poignancy—creating a meditation on ageing and a contemporary take on the classic contradictory ‘honour among thieves’ proverb.

Michael Caine leads a cast of British greats starring as retired heist ‘guv’nor’ Brian Reader, reluctantly pulled back into the game by skittish young protégé ‘Basil’ (Charlie Cox), with the promise of one last hurrah and a plan to empty a notorious vault in London’s premiere jewellery district. Enter his fellow ageing grifters to form a crew; Terry Perkins (Jim Broadbent) the uncompromising wannabe leader, straight-talking ‘heavy’ Danny Jones (Ray Winstone), two-faced conniver Kenny Collins (Tom Courtenay), Carl Wood (Paul Whitehouse) the reluctant 6th man, and the unlikely fence Billy ‘The Fish’ (Michael Gambon). But the score turns out to be the easy part, as the fallout airs grievances and breeds backstabbing—while the net closes in around them.

Not content with masterminding one heist for the elderly last year in ‘Going in Style’, Sir Michael Caine is at it again—but this is far less of a Hollywood affair, and far more burdened by the small matter of the truth.

Sticking mostly to the facts of the case but taking a bit of artistic license when it comes to character dynamics and personal stories, ‘King of Thieves’  is based on Mark Seal’s 2016 Vanity Fair article which unravelled the mystery of the unlikely culprits. This is a more nuanced, higher budget version of last year’s ‘The Hatton Garden Job’, and less of a typical low budget London crime thriller—featuring plenty of cheeky working-class humour and colourful language belying a group of old timers with an edge, but still hilariously dealing with the ravages of age.

Yet for all the laughs, this in not really a comedy, and even as a heist drama it’s rather unconventional, avoiding the build up to a big final score by starting the film with one, and focusing the following acts on the fallout of the job. And that is essentially what ‘King of Thieves’ is geared towards being, a character drama about evolving (or devolving) friendships, loss, ageing and greed—but as far as British crime stories or intriguing character dramas go, this one’s a decidedly mixed bag.

Firstly there’s the controversy revolving the depiction of individuals who were so recently convicted, some of whom have already been released, particularly considering it was not a victimless crime. ‘King of Thieves’ sensibly avoids glamourising the crime or the criminals, and executes the narrative with the appropriate restraint. But even if Marsh & co. didn’t intend to create such an empathetic depiction of the thieves, which they almost certainly did, the sheer presence of so many charismatic and beloved actors makes it impossible not to feel for and even sympathise with the characters they play—regardless of their selfish and callous nature.

Then there’s the fact that truth is not always stranger or more interesting than fiction. When you get past the notion that these kind of heists are becoming rarer, and after the initial novelty of a daring pensioner heist wears off, you’re left with a story which doesn’t bear much fruit, and isn’t that inherently compelling.

That then leaves with you with three choices; to go sensationalist and flashy, which ‘King of Thieves’ most certainly doesn’t, go down the pure comedy route, which it only casually flirts with, or to create a clever or nuanced character drama, which it falls well short of.

Yet despite not excelling in any of its core elements, ‘King of Thieves’ manages to occasionally hit the right note, and the classic 60s & 70s crime caper score from Benjamin Wallfisch (IT, Blade Runner 2049) combined with James Marsh’s craftsmanship means that this is no complete bust. But the film’s not-so-secret weapon, and what ultimately makes it watchable if not quite memorable, is no doubt its cast. The sheer charisma and personality of the legends on show makes the comedy sparkle and just about sells the drama—inevitably making the characters sympathetic . . . for better or worse.

The Bottom Line…

Hindered by its measured approach and dedication to the truth of an unlikely British crime, ‘King of Thieves’ straddles narrative tones while never committing to them, making for a moderately captivating heist movie and crime caper which never transitions to compelling character drama—but is sold on the strength of the (perhaps contentious) humour, and the seasoned charisma of an all-star cast.

Similar films you may like (Home Video)

Going in Style (2017)

Actor-turned-director Zach Braff wrangles a cast of screen legends and veterans in his 3rd directorial feature, in a remake of the 1979 comedy about a trio of struggling senior citizens who decide to take control of their lives by planning a bank robbery.

Directed by Zach Braff and starring Morgan Freeman, Michael Caine and Alan Arkin among others.

Comments

comments

Comments are closed.