Bob Hoskins. Michael Caine. Terence Stamp. Clive Owen. Stephen Graham. When you think about the most noteworthy faces of English hard-men films, these are some of the names that come to mind. But Jude Law? That’s not a name that jumps out at you. Even when he’s played killers and criminals in the past (Shopping, Road to Perdition), you can still see the smiling pretty boy staring at you from under the makeup, hoping he doesn’t get caught out in a world he doesn’t belong in.
Except as Dom Hemingway, he does belong. As Dom Hemingway, he’s not a smiling pretty boy. He’s doughy and rude, bearded and maniacal – and damned funny, too.
Dom has been in jail for more than a decade, taking the time inside by himself instead of dropping the dime on his boss, Mr. Fontaine (Demián Bichir). In the intervening years, Mr. Fontaine has grown more rich and powerful while Dom’s life has become tattered. His wife has divorced him, remarried and died of cancer, and his only daughter, Evelyn (Emilia Clarke), hates his guts for the betrayal and for having to grow up without a father.
Now that he’s served his time and gotten out, though, he wants what is owed to him: money, a lot of it, and Evelyn back in his life. But neither are as easy as that.
The film is a black comedy in the tradition of Snatch and Bronson, though it comes in a tick below both. Its run of sight gags and one-liners are genuinely funny, but the American instinct to always add heart to the story keeps it from reaching the truly iconic-funny heights that Guy Ritchie and Nicolas Winding Refn reached in their films.
That’s not to say it was a move in error. Dom and Evelyn’s push-pull story works in the framework of the film, and director Richard Shepard gets touching, funny moments between Dom and his young grandson, Jawara (Jordan Nash), but it sticks out somewhat, hurting the depth of shading to a degree.
Emilia Clarke, in her first real film role since shooting to fame as Daenerys Targaryen on Game of Thrones, doesn’t have quite as meaty a role as she does when she plays the Khaleesi, but she is bright and believable. There is a lot of gravity to her character, and she holds it well, though her real standout scenes might be the ones in which she fronts a Pogues-esque band, including singing a cover of the Waterboys’ “Fisherman’s Blues.”
I’ve always been on the fence about Law. For every Gattaca or Closer, there are a handful of The Holidays and Cold Mountains to contend with. But if Dom isn’t his best performance, it’s certainly his funniest. I don’t know that it takes me off the fence, or makes me think he’s got a Matthew McConaughey streak coming, but he’s got three in a row now between this, The Grand Budapest Hotel and Anna Karenina and it could easily become one.