In a recent revelation, George Clooney indicated that renowned director Quentin Tarantino doesn’t recognize him as a true cine star. With more performances like his latest work, Tarantino’s sentiments might just find more weight. Clooney, alongside Brad Pitt, boasts a charm that mirrors a couple of cheap coffee cups in a humorously convoluted crime story that sees two competitive fixers from the underworld reluctantly working together on a complicated case. The film, ‘Wolfs’, which saw its first light of day in Venice, is reminiscent of the times when a potent combination of two leading stars and a gripping plot used to be more than enough to draw crowds to the cinemas.
However, what it yields in place of gritty, sharp monologues and complex plots punctuated by abrubt changes, is a string of tediously eccentric situations. Throughout these, Clooney and Pitt’s characters persistently echo their lines and resort to gratuitous swearing in place of clever or humorous discourse. The pivotal incident that propels the narrative forward is curiously unconvincing.
Amy Ryan is cast as the New York City’s district attorney, and it is suggested that she books a high-end $10,000 hotel suite for a tryst with a ragged, rather dull, unattractive student (played by Austin Abrams) whom she crossed paths with in the hotel lobby. There’s a drug-related eventuality, resulting in the student collapsing, helplessly unconscious, and potentially lifeless. Ryan’s character, fearing career jeopardy, resorts to contacting Clooney for assistance.
Simultaneously, the hotel’s overly observing manager, sensing a situation, also sends Pitt for help. Both parties are surprised to realise that they aren’t the lone heroes they perceived themselves to be. Reluctantly, they decide to join forces, firstly to move the incapacitated youngster out of the hotel, then to determine the best course of action to manage the stolen drug contraband they unearthed in his backpack.
Clooney’s character displays the strains of age, grunting as he struggles to carry the unconscious student, and Pitt’s character exhibits similar signs of advancing years, echoing complaints while bending down. Later, as they check an address on a pager, both have to fetch their reading glasses. It appears ‘Wolfs’ attempts to develop this recurring theme into a humourous bit, but instead, it feels like an unpursued subplot about growing old.
Despite their established reputation as experienced fixers in the underworld, the characters of Clooney and Pitt seem to make a fair share of blunders. During one sequence, they find themselves in a wedding organized by an gangster who, as has been mentioned, will not hesitate to order their execution upon sighting them. The duo’s solution to evade discovery? Take part in the dance.
Almost each scene, carefully orchestrated, leads to an embarrassing moment for the grudging partners, but the reasonings are seldom sensible. ‘Wolfs’ parades itself as a homage to classic Hollywood cinema, and if you find its Shane Black tributes off-putting, await the Butch and Sundance reference.
Yet, the movie feels more aligned with the modern, somewhat disheartening category of films that seems designed for the streaming platform workforce. Big stars are plugged into simple action comedies to add a touch of real-life charisma to the digital platform. Having endured many of these, I can’t conclusively state that they should be viewed; they mostly feel like books displayed in a model home – impressive to look at but, upon closer examination, nothing more than cardboard props.
As expected, ‘Wolfs’ was screened at the Venice Film Festival.