But as my Paul Kerecz finds out, it also involves lots of grand plans and sexy college students running around New York while wearing only their underwear. Of course, the viewer is taken for a rollercoaster prepared by George Clooney and Brad Pitt, who manage to impress the audience with their chaotic reality while bringing explosions, vehicle pursuits, and other such vices from time to time.
When talking about Werewolves Howard Stern lets us know how the craft and marketing of the flick help in creating suspense and anticipation for the audience. Jon Watts is in charge of Tom Holland’s Spider-Man movies but provides a classic aesthetic in this urban thriller, which revolves around two infamous contractors whose history is the worst thing out there.
After that, another knock at the door goes off Hotel manager Pam (Frances McDormand), who has been watching everything from a security camera, calls her own guy (Pitt) which leads to an embarrassing male confrontation, and sees the two professionals having to work together.
A bit more cattiness is added as these two stars rejoin the cast of the movie but this time their movie chemistry is closer to the “Ocean’s” movie. Pitt for example as the competition dismisses at first the other guy, but can’t help being jealous at how easily the other guy handles the bell cart. The grumpy look says it all, for Clooney, he is just “too old for this”. As the movie makes the relationship overly complicated with multiple criminal undertakings and an overzealous plot, the stars manage to make the film interesting just by hurling insults and giving their characters deadpan faces while their nameless characters argue and in the end come to terms.
Watt’s story moves pretty quickly but also brings the focus of the night: A bag packed with kilos worth of heroin, or rather, the sense of a dead body that wakes up quite unexpectedly. This kid (Austin Abrams of “Euphoria” fame), who rather irritatingly also is not codenamed, makes our heroes run after him over the bridges. He also ends up looking up to these two men, each of whom is a ‘lone wolf’, but together work even better. “How long have you been partners?” the kid asks them, noticing that they practically wear and behave in the same manner. “You’re basically the same guy.”
“Wolfs” will not change the way you look at the genre. Similarly themed movies like “Midnight Run” and “48 Hrs.” were set against better mysteries, and the conspiracy connecting Pitt and Clooney had the potential but fell short. There is a levity and a certain ease of viewing to it, however – if it were shown on TNT, it would probably be repeated numerous times throughout the day. (The good thing about such streaming services is that you do the repetition yourself: Maybe ‘Wolfs’ is the perfect movie for folding laundry?)
Pitt and Clooney are always nice to watch as snarky ‘bro’ colleagues who are really at odds except they want to bond as guys – the film’s flaws would be more familiar if other actors were in place.
Moreover, Abrams manages to impress as the newcomer who injects an infectious life-affirming spirit into the proceedings. And thanks to that “Wolfs” pack it’s a job well done on the cinematic front.
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