Although largely comic in tone, this frothy thriller is obviously modelled on classic films noir, with their tales of betrayal and cunning, gullible heroes tricked into crime by femmes fatales, and the ever-present backbeat of quiet economic desperation. But Keir O’Donnell, a character actor making his writing-directing debut, has juiced up the formula with a palette of poppy primary colours and bright stabs of pink, and an ironic, self-mocking tone. That should help this slip down easy with new-generation viewers who may never have seen such classics as The Postman Always Rings Twice or Double Indemnity, let alone later remakes or homages like Body Heat or Blue Velvet.
It also helps that O’Donnell has cast Gen-Z-star-on-the-rise Joe Keery (Steve from Stranger Things) as protagonist Baron, a guileless poor boy from the American south whom we first meet as he arrives in a prison cell. His cellmate Otis (Aldis Hodge) brags that he’s expert at escaping, so Baron tries to interest him in helping him break out so he can be reunited with his sweetheart Marmalade (Camila Morrone). In order to convince Otis, Baron starts telling him the whole sad story of how he had to look after his sick mother (Susan Brava) who needed expensive medications Baron could barely afford on his salary as a postman. Enter Marmalade, a leggy manic pixie dream girl drifter who lives in her car and wears lots of clothing made from netting and yarn. She suggests that they consider robbing a bank in order to pay for Mama’s medication; blinded by her magical vampishness and perfect teeth, Baron soon agrees.
Of course, it wouldn’t be a proper noir if there weren’t a few plot twists, and such is the case here, although they’re reasonably clever if slightly credulity stretching. Never mind, best to just lie back and let wash over you like a soft bubble bath. The stars are toothsome and have a fizzy chemistry, while the ending is surprisingly poignant for all its corniness.
