Aubrey Plaza flings herself into titular role of “Emily the Criminal” devotedly, but the writer-director John Patton Ford gives her little to work with, tnyfrontrow writes.
The writer-director hyphenate is the boon and the bug of independent filmmaking. Directors working with their own material are apt to create a more unified and personalized movie. But, because the writing of a script is mainly done at an artisanal leisure, and the film shoot itself is generally a hectic rush, the writerly persona often dominates, to the detriment of the film.
Or, rather, to a scam. She gets hired, if that’s the word, to work as a “dummy shopper”—to take a fake credit card and a fake driver’s license into an appliance store and buy a big-ticket item, which her handlers will resell.
Ford clearly delights in the craft of credit-card crime, but if I so conspicuously delight in the details of the movie’s plot it’s because Ford leaves little else. Just as there’s only a hint of the wider web of connections and schemes on which Youcef and Khalil’s business depends, there’s only a hint of Emily’s own interests, passions, experiences, and identity.
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