The Hollywood remake of a non-Hollywood film is always a delicate undertaking. American filmmakers face the challenge of either straying from the original and risking accusations of butchery, or sticking too closely and inadvertently highlighting the weaknesses of the original over its strengths. Criminal, a 2004 thriller written and directed by Gregory Jacobs and based on the 2000 Argentine film Nine Queens, falls into the latter category.
In line with recent Hollywood remakes, Criminal transplants the original plot into contemporary USA. The story follows Richard Gaddis (portrayed by John C. Reilly), a seasoned con artist who takes young Mexican Rodrigo (played by Diego Luna) under his wing after spotting him attempting a simple scam in a casino. When Rodrigo finds himself in trouble, Gaddis steps in to mentor him in the art of cons, potentially making him a partner. Their chance for a major score arises when they encounter William Hannigan (played by Peter Mullan), a media mogul with an interest in rare banknotes staying at a hotel where Richard's estranged sister Valerie (portrayed by Maggie Gyllenhaal) works as a concierge. Richard and Rodrigo team up with one of Richard's former associates to sell Hannigan forged banknotes.
Criminal is the brainchild of Gregory Jacobs, a long-time collaborator of Steven Soderbergh who also co-wrote the script. The film is competently directed and acted, largely due to the performances of seasoned character actors like Reilly, Gyllenhaal, and Mullan. While Diego Luna may come across as somewhat lacklustre compared to his co-stars, he still manages to deliver an effective performance, albeit occasionally seeming to have been cast more for his appeal to Latino audiences in the USA than for his acting prowess.
However, these aspects pale in comparison when it becomes evident that Jacobs and Soderbergh made minimal changes to Fabien Bielinsky's original script. The once intricate plot that captivated audiences four years prior now feels mundane and melodramatic, particularly towards an ending devoid of any surprises. Viewers familiar with Nine Queens may experience a growing sense of déjà vu while watching Criminal. Furthermore, the absence of proper social, economic, and political context within the plot is glaring. Nine Queens stood out among Argentine films for its prophetic final scenes, elements which are regrettably absent in Criminal, transforming it into yet another Hollywood example of futility.
RATING: 4/10 (+)
(Note: Original version of the review is available here
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