Film Friday: Smokin’ Aces (2007)

Smokin’ Aces fascinates me, but for the wrong reasons. On paper this movie must have looked great. You’ve got a solid cast, a director with a hip style, and a downright clever script. But something went wrong on the way from paper to film. As I see it, the director worked too hard to be clever and not hard enough on getting control over his film reality.

** spoiler alert **

Problem No. 1: Script-Abuse

If you just consider the script itself without paying attention to the final film product, you would think this would be a pretty good movie. For one thing, the story has an interesting premise: Buddy “Aces” Israel (Jeremy Piven) is a Vegas magician/mafia associate, who wants to turn informant. As Piven waits in the penthouse of the Nomad Casino in Lake Tahoe, while his agent negotiates a deal with the Department of Justice -- headed by Andy Garcia, the mob puts a massive bounty on Piven's head. This gets half a dozen assassins racing for the million dollar prize. Sounds like fun.

Further, script-wise, everything ties together nicely. Everything that needs to be foreshadowed is foreshadowed. All the motivations make sense. The dialog fits the personalities. The characters are interesting and there are dozens of moments of cleverness, both verbal cleverness and plot cleverness. But something has gone wrong from script to screen.

Specifically, the film feels gimmicky because the director ties together each scene by having the first line of dialog in each scene reference the last line of dialog in the prior scene. Thus, one scene might end with a character saying: “what time it is?” and the next scene would begin with a character in a different scene saying something like: “Five o’clock is when it happened.” This was used incredibly effectively in The Fifth Element, where multiple scenes were sometimes combined into one through interlaced dialog. It allowed the director both to speed up the story AND to bring the characters together -- giving the movie a more tied-in feel. But in Smokin’ Aces, this was done in a such a heavy-handed, obvious and unrelenting way that it screams: “look how clever I can be!” It's like giving the punchline to a joke in the middle of the next joke, and while that can be clever if done sparingly, it becomes unpleasant done constantly. Indeed, it quickly becomes tiring trying to sort out the double meanings of each scene transition.

Problem 2: Too Many Lead Actors

The next problem comes from the use of the cast. The cast is very large and mostly famous: Ben Affleck, Common (Terminator Salvation), Alicia Keys, Jason Bateman, Ray Liotta (Goodfellas), Ryan Reynolds (The Proposal), Chris Pine (Star Trek), Matthew Fox (Lost), and a couple more you’ll recognize. And it’s hard to complain about this group as they all do a pretty good job. But the director decided to give them all “a moment.” Thus, the film starts to feel disjointed as each character is given time to do their “shtick,” whether it helps the movie or not. And some scenes do nothing but distract from the film, e.g. Jason Bateman's scenes could be removed entirely.

Problem 3: Loss of Control

But the real problem with this film is that the director loses control over the film’s reality. Smokin’ Aces feels like the director shot seven or eight distinct stories with each character eventually ending up in the same place, then cut each film into equal length segments and assembled the movie by alternating these segments starting from the end of the film and working his way to the beginning without regard for how they fit together. This causes an amazing amount of time distortion in the film.

For example, one character starts up in the elevator toward the penthouse but somehow doesn’t reach the top floor before another character can drive from across town to the casino, interview staff members about the assassin in the elevator, get into a second elevator, and meet the assassin at the penthouse. In the same amount of time, another character flies from Los Angles to Tahoe and still arrives only a few seconds after everyone else. In another egregious example, one character actually gets shot in the parking lot, dumped in Lake Tahoe, finds his way out, runs into a stereotype white trash family, takes a bath, borrows a gun, returns to the hotel, hops in the elevator and rides to the penthouse in the same amount of time that the guys who shot him take to make it from the parking lot to the penthouse.

The director also lets characters see things and know things they couldn’t possibly see or know. Thus, one character in a hotel 1000 feet across the street can shoot through walls that she can’t see through and hit specific targets in the main hotel without wasting a shot. Others seem to know where their competitors are, even though they don’t actually know there are competitors. Characters also seem to be able to suddenly appear wherever they are needed to make a scene work. Moreover, the ending makes no sense except to allow for a dramatic conclusion.

These are the kinds of problems that really make the film feel unbalanced and strange, and keep you asking “when did he have time to do that?” and saying “that doesn’t make sense.”

In the end, this was a clever script and a solid cast ruined by a director who never had control over his sequence of events and who tried to substitute hip for smart. And that’s why I find this film so fascinating. If you had looked at this project before it was shot, this movie must have appeared like it couldn’t fail. But it did.

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