Uncut Gems – first look review | Little White Lies

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Uncut Gems – first look review

10 Sep 2019

Words by Hannah Strong

A man wearing glasses and a dark coat, looking to the side, in a busy urban setting.
A man wearing glasses and a dark coat, looking to the side, in a busy urban setting.
Adam San­dler is on the form of his life in this scin­til­lat­ing, heart-in-mouth study of a des­per­ate New York jeweller.

For some 10 years now, Josh and Ben­ny Safdie have been mak­ing movies about shit­ty peo­ple. Not just shit­ty – that’s not spe­cif­ic enough. Their cen­tral char­ac­ters exude a fran­tic, chaot­ic ener­gy, and have no qualms about screw­ing oth­er peo­ple over in order to serve their own inter­ests. By and large, they are also pathet­ic in that they might not nec­es­sar­i­ly be bad peo­ple, but they’ve def­i­nite­ly done bad things, and in scram­bling to fix their own mess, often make those things worse in the process.

Howard Rat­ner is a pure Safdie cre­ation. He’s a Jew­ish New York­er who owns a high-end jew­ellery store in the city’s dia­mond dis­trict, cater­ing large­ly to bas­ket­ball play­ers, deal­ing in Rolex watch­es and bedaz­zled Fur­bies on thick gold chains. He’s also tens of thou­sands of dol­lars in the hole to var­i­ous debtors thanks to a crip­pling gam­bling addic­tion, and has a hare­brained scheme to get rich quick, involv­ing a large, rare, uncut black opal from Ethiopia.

Rat­ner is played by everyone’s favourite Net­flix Orig­i­nal Super­star, Adam San­dler, who the Safdies had in mind for the role since they first came up with the con­cept back in 2009. For a while Jon­ah Hill was going to take the lead, but after watch­ing Uncut Gems, it’s impos­si­ble to imag­ine any­one else shrug­ging on Howard’s leather jack­et and Guc­ci loafers.

San­dler has been the butt of every joke in Hol­ly­wood for years, churn­ing out var­i­ous affronts to cin­e­ma which include Jack and Jill, That’s My Boy, and, most recent­ly, Mur­der Mys­tery. But every so often he likes to make a film like Fun­ny Peo­ple, or The Meyerowitz Sto­ries, just to remind us that, actu­al­ly, he’s capa­ble of so much more than jokes about bod­i­ly flu­ids and per­sis­tent casu­al misogyny.

A lead role in a Safdie film must feel like a gift to any actor. From Ronald Bron­stein in Dad­dy Lon­glegs and Arielle Holmes in Heav­en Knows What to Robert Pat­tin­son in Good Time, the char­ac­ters they cre­ate are spe­cif­ic, ful­ly-realised and remark­able. Unpleas­ant, cer­tain­ly, but nev­er for one sec­ond dull. As Rat­ner, San­dler is a fast-talk­ing, scheme-lov­ing dynamo. He gets under the skin of the char­ac­ter, most poignant­ly the deep-root­ed addic­tion which con­stant­ly threat­ens to ruin him once and for all.

He’s fun­ny, of course, but he’s also cuts an incred­i­bly trag­ic fig­ure. He’s frus­trat­ing, yet some­how you sort of feel for him, despite all his man­i­fold faults’. It’s such a fine­ly-cal­i­brat­ed per­for­mance, it feels like you could watch if for hours; bet­ter still, it helps to gain a real feel for the world in which this char­ac­ter func­tions. The out­ra­geous, osten­ta­tious behav­iour all feels root­ed in some­thing real, some­thing raw.

There’s also an acute sense of neu­rot­ic, ner­vous ener­gy which means the film zips by, aid­ed by Daniel Lopatin’s elec­tro-synth score which amps up the ten­sion to break­ing point while also adding a hint of the fan­tas­ti­cal. The film cul­mi­nates in a bas­ket­ball match which is heart-in-your-throat stuff, even for peo­ple with absolute­ly no inter­est in sports. Although the stakes for Rat­ner are not made explic­it until very late on the film, by the time we get to the big game, we’re so invest­ed in his errat­ic, anx­i­ety-induc­ing deci­sion-mak­ing, the Safdie broth­ers’ even­tu­al suck­er punch (because there’s always a suck­er punch) stings even harder.

The five fea­ture films that the Safdie broth­ers have made so far togeth­er form a series of snap­shots of New York City. They are about des­per­ate peo­ple doing des­per­ate things to get by. In Uncut Gems they trade the grime and grit for a lit­tle pol­ish, demon­strat­ing that reck­less greed and human rot aren’t lim­it­ed to neigh­bour­hood bound­aries or upper/​lower wealth brack­ets. Uncut Gems grabs you by the lapels and shakes you until you’re dizzy. It’s a bruis­ing, des­per­ate anx­i­ety attack of a film that rips the rug out from under you when you least expect it. And, because it real­ly can­not be said enough: Adam San­dler is on the form of his life.

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