‘Emily the Criminal’: Student debt made her do it
By Tom Meek Friday, August 12, 2022
Aubrey Plaza may just be indie film’s “it” human of the moment. With accolades for performances in critically noted, smaller fare such as “Black Bear” (2020), “Ingrid Goes West” (2017) and this slide from millennial slog into crime – a Sundance hit – Plaza’s proven capable and clearly on the edge of a breakout. Directed by John Patton Ford, pulling from his experience of cracking under the weight of student loan debt, “Emily the Criminal” concocts a narrative that’s just as much character study and social commentary as it is a crime drama.
Plaza stars as the titular Emily, out of school, talented but unable to land a gig. Part of the problem is that she has a record. The publishing/graphic design industry she wants to break also into requires a demurring personality and the ability to work an internship for six-months-plus for free. Emily’s a quietly take-no-shit kind of person, but she also needs money, which leads to the occupation of the title. Shlepping as a caterer, trying to get a real job and pay off mounting bills, Emily gets hooked up through a friend with a dicey yet amiable character named Youcef (Theo Rossi), an immigrant with hopes of realizing the American Dream who’s running a credit card scam to achieve it. Emily, living the American Nightmare, gets in on it, tangentially at first. Then she and Youcef find they have more in common, including dealing with his troublesome brother who is threatening the side biz and its mounting pile of cash. We find out later about Emily’s past transgression – and god forbid if you cross her; the payback is X-Acto knife justice for a shady couple who get onto her scheme. Then there’s her interview for that coveted publishing gig (with Gina Gershon!) that’s almost as captivatingly fiery as Matt Damon’s high-rise job interview in “Good Will Hunting” (1997).
“Emily the Criminal” clicks because of Plaza. No Plaza, no clicking. Gershon and Rossi are great accoutrements who have seamless chemistry with Plaza, knowing how to play off her without deferring to her. It’s a confluence of smart casting, lived-in performances and directing by a person who understands his performers and their characters deeply. Still, Plaza: Not enough can be said about her subtlety, or how much she does with a sneer or a shift of her large, luminous eyes. It’s a filmmaking turn. After seeing “Emily” you’ll want more of her, both streaming (the above cited films are worthy) and in the future. My only (selfish) hope is that she doesn’t go commercial and get lost, the way Brie Larson (“Room”) did (“Captain Marvel”).
Out of the earth rises a needed jolt when Tim discovers a gun and a bone poking out of a hillside. Is it human or animal? Without an active case, the police aren’t all that inclined to investigate, but Tim, ignited by his imagination and his need for a tax-filing procrastination, keeps digging. Lee doesn’t share Tim’s curiosity and, despite some killer house parties and much merriment, the two drift further apart, so Lee is doing her own thing while Tim hosts digging parties with his immature, boozed-up posse. Eventually, each principal ends up with a fetching member of the opposite sex. For her, it’s the charming Orlando Bloom, who should’ve been doing more films like this long ago; for him, it’s a nubile waif (Brie Larson) hanging out at one of the house gatherings.
Bujalski’s first film cost just $30,000 to make (it grossed about $75,000) and starred no-name actors; here he’s blessed with the reliable Guy Pearce, Cobie Smulders (Agent Maria Hill in the “Avengers” movie and “Agents of S.H.I.E.L.D.” television series) and character actor Kevin Corrigan (“Superbad” and “Goodfellas”) who steps to the fore and delivers a knockout performance. “Results” is based on the well-being fad, in which everyone wants to get physically and emotionally fit and fortified. Danny (Corrigan) newly and painfully out of a marriage he didn’t want to exit, transplants to Austin. He’s doughy, rich and angry. He also wants to be able to take a punch, so he signs up for a personal trainer at Power for Life, a boutique health spa run by Trevor (a gaunt and toned Pearce) who pushes the philosophy that wellness is more than physical beauty, even though his crew of crack coaches look like magazine cover specimens. The upbeat but aggressive Kat (Smulders) gets the assign and spends time at Danny’s palatial spread trying to get him lean and buff, but he drags her down into his routine of single-malt scotch and weed. Turns out she’s a bit depressed and angry too. If there’s a deadbeat client, Kat’s more than happy to switch over to into loan collector mode, and boy can she run – look out Lola, she’s on your tail. 
For What it's Worth 