Uncut gems budget
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#UNCUT GEMS BUDGET MOVIE#
Keith Williams Richards, another first-timer, brings an utterly convincing menace to one of the most volatile, intimidating henchmen in recent movie history. In her film debut, Julia Fox adds a mask of complexity and sly accommodation, chuckling believably yet not too believably at the men who come onto her, to what might have been a one-note character.
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As Arno, Eric Bogosian ( Talk Radio ) uses his big, watery eyes to sell an inner turmoil that evolves from white-hot fury to outright pity, while getting to shout things like, “I heard you resurfaced your fucking swimming pool. The film is a meticulous patchwork of personalities and experiences the backgrounds of the characters are deeply felt, whether they’re even spoken or not. If some of the plot developments get a little convenient or showy, the accompanying realism keeps it all balanced out, the recognizable faces contrasted with people who rarely get put in wide-release films.Īs the Safdies work their way up to larger budgets with Uncut Gems (which still, nonetheless, came in under the budget ceiling to qualify for the Independent Spirit Awards), they haven’t lost sight of that specificity. Buddy Duress made his debut in that film, and one of his scrapes with the law forms the basis of a flashback in Good Time. Their casts are frequently populated by first-time actors, who bring their own experiences to the table - Heaven Knows What is based on the life of lead Arielle Holmes, who one of the brothers found panhandling.
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The filmmakers are enamored with fast-talkers of frequently dubious morals - their debut film as a directing pair, Daddy Longlegs, is partially based on their father. In an early scene, after Connie robs a bank with his developmentally disabled brother Nicky (Benny Safdie), a red dye pack explodes and they stumble into a staff-only restaurant bathroom to wash it off, an employee pounding on the door all the while. Starring Robert Pattinson as forceful, charismatic hoodlum Connie, it’s a good introduction to the brothers’ specific brand of tension. Uncut Gems is a further escalation from directors Josh and Benny Safdie’s previous film, Good Time, another stressful New York thriller with distribution by A24 and a soundtrack by electronic artist Oneohtrix Point Never. In equal measure, it is thrilling, funny, and horrifying as it pulls open a compartment to show you the gears of ethical compromise under capitalism. Uncut Gems provides a chaotic window into a life of persistent hustle, into one man’s single-minded attempt to get his, regardless of whatever self-made problems crop up in his wake. But despite everything, you can’t help but kind of root for Howard. With the veneers, the goatee, the glasses, and the particularly gaudy fashion sense, Sandler is made up to look faintly grotesque.
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Howard is not, in other words, a traditionally likable character as he goes about trying to settle his debts and sell a black opal smuggled into the country from Ethiopia. He’s in deep with Arno (Eric Bogosian), his brother-in-law and a loan shark who’s hired several refrigerator-sized goons to straighten Howard out. He squabbles with his bookie, his other employees, and the guys at the shop where he pawns clients’ collateral to fund further bets. He’s having an affair with Julia (Julia Fox), his much-younger employee who stays at the NYC apartment he keeps separately from the family home. His wife, Dinah (Idina Menzel), does not seem to be exaggerating when she calls him the most annoying person she’s ever met - she looks at him with a combined weariness and escalating disgust, having agreed to divorce him after Passover. It’s bedlam.īased in New York City’s Diamond District, Howard is a jeweler without an off switch, a compulsive gambler whose motormouthed cajoling bleeds into his personal life. Sandler’s character Howard Ratner is a cyclone force all his own that’s smashing into everything else for the film’s runrime. The film’s striking poster, which features a grayscale beat-up Sandler against a wider black abyss, doesn’t tell you the half of it. Everyone in the film is talking over one another, just wall-to-wall shouting and arguing and haggling, often in cramped spaces with the camera jittering around wildly. Insofar as they tend to involve him yelling at someone in what may or may not be a questionable accent, most Adam Sandler movies are loud.