LYING AND STEALING: B-Movie Art Heist Thriller Anchored By Two Magnetic Leads

Lying and Stealing opens with a quote by Yiddish Proverb: “When a thief kisses you, count your teeth.” Well, the beguiling presence of Divergent’s Theo James (a suave and sexy art thief, coasting through jobs quite easily), along with the mysterious oomph of Emily Ratajkowski (an enigmatic actress in serious debt with a Hollywood producer), prove to be alluring entities. Director and co-writer Matt Aselton doesn’t break any new grounds with his art heist thriller, but he still packages some fast-paced, B-movie fun.

The opening shot shows us an extensive and glistening Los Angeles from a distance, but very smoothly inches the camera at the doorstep of a palatial house. And a voiceover of Ivan (James) expounds his established mentality when it comes to stealing money. “An accomplished bank robber and escape artist, Willie Sutton, was once asked by a reporter why he robbed banks. Sutton remarked, ‘Because that’s where the money is’ ”. And Sutton was right. Money is in the bank. But it’s also in the wallets, the shoeboxes, cookie jars, and the private homes of the unencumbered. If Sutton were alive today, he wouldn’t be robbing banks. He’d be robbing the wealthy.

One would initially think Ivan’s a modern-day Robin Hood, but he does not give the wealthy person’s money back to the people; in fact, he’s not stealing money, he’s robbing costly art pieces, merely for the gratification of a merciless crime boss named Dimitri (Fred Melamed). Ivan’s father left a significant debt with Dimitri when he died, and Ivan, being the good son he is, looks to make amends by implementing heist jobs for Dimitri.

We’re currently following Ivan in a lavish house, but it isn’t his place. Soon enough, it’s very apparent that he’s at this book-launch party for the sole reasoning of lifting a piece of artwork. There’s no discernible fear or worry seen on Ivan’s face, and he remains composed and wanders about without prompting any suspicion (although it’s fair to say he captured the attention of many guests; how could he not, James stars in a lot of Hugo Boss commercials). During the heist, Ivan stumbles upon Elyse (Ratajkowski). He describes himself as an art consultant, but she has no idea what an art consultant does. They exchange a few words, but Ivan can’t socialize, he has to complete the job. With the guests outside, awaiting the florid poetry from the mouth of a hubristic poet, Ivan is able to covertly take a valuable sculpture (which happens to be a bunny), and replace the sculpture with a blown-up look-alike.

Ivan gets out unscathed and unfollowed, but Ivan wants out of the crime life, and one last job will finally vanquish the gambling debt left behind by his father. But an implacable FBI agent (a casual and blunt Isiah Whitlock Jr.), a bipolar brother (Ebon Moss-Bachrach), and the words of a bloodthirsty crime boss are weighty obstacles. Ivan and Elyse are alike, both are drowning in debt and aspiring to succeed in life without stealing, but life hasn’t been kind. Ivan’s father took on a huge gambling debt from Dimitri, while Elyse stole something from a handsy producer, now they have to pay the price. Elyse finds herself drawn to Ivan, and is not at all petrified of his law-breaking antics, but his last job may very well be his last.

Assigned to steal a Hitler self-portrait from a Vietnam vet, once Ivan gets it and brings it to Dimitri, he’ll be paid 500k and he’s out of the game — but we all know the end of this story, and it’ll end in blood splatter. That is unless Ivan cunningly formulates a plan (with the help of Elyse and his brother) that’ll help him escape the scrutiny of the FBI and the barbarity of Dimitri, who will most likely kill him after he turns over the portrait.

The Leads Get The Job Done

Originally a nod to ’60s heist movies (Charade, for example), Lying and Stealing is not exactly as fashionable or sexy as the predecessors of this attractive effort. Heist movies are frightfully common (most notable ones being 1955’s Rififi and the Ocean’s movies), and multiple heist outings are released each year. Usually, heist movies are infeasible and rationale isn’t really important. In one way or another, heist pictures are pure escapism (breaking the law and escaping without a trace, much like a modern-day Bonnie and Clyde, is occasionally appealing to everyday people). Charade gave viewers a stylish romance, kindled by the infectious glamour of Cary Grant and Audrey Hepburn — and with Lying and Stealing, James and Ratajkowski aren’t as kicky, but they’re channeling a relationship that’s more exuded in relaxed conversation and harmless banter.

James and Ratajkowski have tempting chemistry, not at all what you would expect. They’re tailored stunningly by costume designer Natalie O’Brien, and surrounded by refined production design (David Batchelor Wilson), which upholds the grandiosity of the L.A. locations, while weirdly rendering the setting, not all that welcoming. The L.A. sketched here includes numerous diners and vacant, inky roads, but the houses on Mulholland Drive (almost but not really) justifies the life of crime. The Santa Anita race track more specifically, is the ideal place for drop-offs and crime boss meet-ups because the place is seen as apprehensively empty. This L.A. is more foreboding, but a subdued performance from James kind of just goes with the flow.

Throughout Lying and Stealing, James is in a constant state of reflection, cognizing the logistics of the heist and the window of opportunity, while reacting quick and remaining diligent and levelheaded when the potential of being caught or getting shot widens. There’s nothing overly complicated about Corey Walter‘s cinematography (aside from the immersive opening shot, which artfully introduces us to Ivan), but the camera shots/angles are comprehensive. When Ivan scouts the rooms with the big score, the shots are simply effective: we get to see the layout of the room, the exact position of the artwork, how Ivan views everything and potentially see the complications in the room as well. Ivan is a very punctilious and talented thief, but he’s not too comfortable showing emotion. But, unexpectedly, Ivan isn’t a boring character — he can be underused, but his skills of a chic thief pulls you in completely.

Ratajkowski is convincing as a disgruntled actress, trying to overcome the depravity of a Hollywood producer and find her place in Los Angeles, a city built on dreams (fulfilled and shattered ones). But the characters are dealing with a restricted script, employing a pesky FBI agent and a bipolar brother to fill in the gaps of the plot. No matter how likable Elyse can be, the script doesn’t bestow much to her other than a crippling debt and an adamant attitude. None the less, Ratajkowski is still great at delivering quips and interacting with James.

An Already Drawn Plot Layout Still Scores Great Fun

Aselton is clearly taking ingredients from past projects, and for budgetary reasons, isn’t fully embracing the tropes at play here. The conniving crime boss (Melamed), who first acts like your friend, but he’ll have no problem killing you. The relentless FBI agent, who is awfully invested in Ivan’s boss and swears he’ll never cross Ivan as long as he complies (yeah right). And familial issues that include a negligent father, who died and left a debt, and a reckless brother, who’s bipolar. Fred Melamed has the minatory stares and hard-edged comments down, but like any crime boss, Dimitri’s dominance and inevitable downfall are not fully utilized in a fresh direction. The bipolar brother is an emotional hurdle, while the FBI agent is a physical hurdle, but they’re artificial entities. Ivan’s familial troubles are barely functional additions, but it does at least give Ivan a genuine motive to live a life of crime.

Already inheriting a short runtime, the routine layout of Ivan’s hardship is even more visibly uninspired. But it’s not so much a problem as the lack of exploration. None of the characters are given the chance to deeply radiate their sly intelligence. There’s no finicky preparation to every heist, but at least Ivan convinces us he knows what he’s doing — and at the end of the day and after each heist, you can’t help but wait anxiously to see Ivan pull off another one, faultlessly. Even if the bipolar brother and FBI agent are hardly characters and operate like flimsy plot maneuvers, there are some fun moments that do include them. Whether it be the cartoonish Diner scene, where the FBI agent threatens Ivan, or how Ivan’s brother is amusingly carefree, there’s humor in the familiar — just not enough of it.

As far as the tonal balance between the humor and tension goes, it’s definitely leaning to the more ultra-serious approach. The neo-noirish crime venture is more set on using Giona Ostinelli and Sonya Belousova‘s original score (which is wired electronica), and the cryptic and emotionless Ivan to keep things snazzy and brisk. On one hand, Ivan seems so remarkably good at his job, so the stakes are certainly at risk. But when Ivan’s final job is to steal a self-portrait of Hitler from a veteran (who doesn’t have any security, but he has guns and ammunition), the tension is robust. It’s funny to think Ivan’s last job doesn’t have any security, and yet that particular scene is the most effective heist, brimming with palpable suspense. The ending is rather predictable and hurried, but the duo of Ivan and Elyse still enchant us with their charisma and inflated guile.

Lying and Stealing Is Not A Con Job, But It Can Oversell

When it comes down to Ivan and Dimitri, there’s nothing there but mutual hostility. Dimitri, like every other crime boss, has no soul and pretends to be your friend. The careless father simply had to leave a debt with the said crime boss, so the “good” son can clean up his mess by falling under Dimitri’s control. It’s all been done before, but Aselton’s Lying and Stealing kind of works as a B-grade replica of the real thing.

There are enough elements that mislead you into thinking this is a sharp heist picture. With leads Ivan and Elyse, there’s a subtle aura of romance and partnership, which adequately makes up for the shortage of logic and intensity. The supporting characters are underused, while there’s not enough hilarity to ensure the tropes are dealt with in a self-aware manner. Upheld by a gripping electronic score which pulls off droll suspense, two zestful (and sexy) leads, and polished production design, Lying and Stealing is almost the real thing, but oversells its value.

What’s your favorite heist movie? Should heist movies spend more time focusing on the preparation? Let us know in the comments!

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