Lance de Sorte

"The Good Thief " is a classier one-last-great-heist film than "Ocean's 11," in a more exotic Riviera locale with grittier repartee and well-worn actors with many different accents.

The long-time camaraderie among crooks and cops is comfortably reflected, though much back story has to be stretched to explain why American Nick Nolte fits in.

Based on a 1955 French film I haven't seen, "Bob le flambeur," I don't know how much Neil Jordan changed from the original. It has the kind of twists and turns that has strangers in the audience turning to each other at the end to compare notes.

Really odd that Ralph Fiennes's cameo is uncredited, as he's terrific, and much more effective here as a leonine cynic than as a romantic in "Maid in Manhattan."

Most creative transsexual character since "Adventures of Priscilla: Queen of the Desert" and neat use of the Polish brothers.

Jordan resists another male fantasy until the end when Nolte finally pairs up with the seductive teen-ager who conveniently announces she has just turned 18 so he can't add statutory rape to his rap sheet. Oh, so then we're supposed to feel happy ever after.

Very nice world-weary multi-lingual soundtrack, including Serge Gainsburg and Leonard Cohen.

I have seen every film directed by Neil Jordan. Being a big fan of his, I didn't want to miss this one. Well, it was the big disappointment of my life. This remake of Bob le Flambeur is horribly directed and acted. The last sequence is just about the best thing of this film, but as for the rest, it was just mediocre, at best.

The idea of putting together these many characters in the Riviera was probably a great thought, but then, the many actors of different nationalities and backgrounds prove to be a hindrance to the story. If one can get over the accent problem, then there is the sound track of this film, which was so hard to hear at all, at least in the theater where I saw it, that you have a double hurdle to get over.

Nick Nolte with his hair dyed a carrot hue looks hideous; he probably was going through a bad period when he made this movie. His take on Bob is fitting with the character's spiral descent into hell because of his drug problem, no doubt. But he is also hard to understand since he whispers and mumbles most of the time. A little more clarity would have helped.

The last moments of the film are very well executed, but as caper films go, this picture doesn't contribute anything to the genre.

Sorry Mr. Jordan, better luck next time out. Maybe leave remakes to mediocre directors. You could not improve in the original one, so why even bother?

Set on the scenic French Riviera, Neil Jordan's `The Good Thief' is a remake of 1955's `Bob Le Flambeur,' a Gallic film that enjoyed a successful re-release in this country a few years back. This new version is a stylish caper film about an aging master criminal who comes out of retirement to help lift some priceless paintings from a Monte Carlo casino.

In terms of plotting, there is little that we haven't seen in this type of film before. First, there's the idea for the heist, then the wooing of the reluctant `reformed' criminal, then the gathering of the other participants, then the intricate planning and rehearsing for the job, followed by the inevitable double dealing and double crosses, and ending with the sly turnabout ending to set our heads spinning and make us question everything we have seen heretofore. But Jordan has a knack for turning the ordinary into the extraordinary, and this he accomplishes with a complex screenplay, a strong sense of atmosphere, a host of well-developed characters, a sly sense of humor and an assortment of first-rate performances from a talented cast. Nick Nolte is superb as Bob, a shrewd, world-weary thief who is also a compulsive gambler and drug addict. Needless to say, the role seems tailor made for the star. Most of the rest of the cast is made up of French or Eastern European actors, all of whom do a fine job in their assorted roles.

Actually, the only complaint I have about the film is a direct result of that largely international cast. Much of the film's dialogue is hard to understand due in large part to the very thick accents emanating from most of the actors. Even the one native English speaker, Nolte, is difficult to comprehend at times, but that's just because Nolte is simply being Nolte and we expect to miss half of what he is saying anyway.

Apart from that, `The Good Thief,' less polished and slick than movies like "Ocean's Eleven," offers top-notch entertainment for the hardcore heist film aficionado.

Heist movies are of two kinds: those where the heist is successful and end in some sort of bliss for the robbers (on whose side the viewers always are) and those where it fails and ends up in tragedy. The heist told in this movie belongs to a third kind because in my opinion it's neither successful nor unsuccessful like you will see in the end and understand why I am saying so. Nick Nolte does an excellent job in the role of a middle aged gambler, heister and drug addict who plans a robbery of valuable pictures in a casino in the south of France despite the fact that he is being watched by the police. The heist plan is very original indeed and it is based on a fake heist on one place while the real robbery will take place on another one. The end of the movie is bit confusing while mixing luck at gambling (in a rather unbelievable and unexplained way) with the success or failure of the heist itself. Well but it's a merry movie (except for the only death that occurs there)and Nick Nolte plays his part in a wonderful way.

There isn't much one can, or for that matter should say about Neil Jordan's "The Good Thief". Fun and stylish heist movie that drags a bit in the middle but gets back on track by the end. Along for the ride with a weathered thief/drug addict/bon vivant named Bob (Nick Nolte) is a motley crew of characters with varying degrees of fashionable zaniness. The most notable of the lot might be transsexual Philippa (Sarah Bridges) and security-systems expert Vladimir from Vladivostok (played by another raconteur European director Emir Kusturica).

Dialogue, though, sounds like it was written by a teenage comic book artist in a foreign palaver and then translated into English. The fact that most of the actors don't list the language of the British as their mother tongue isn't helping either, especially when the details of a complicated robbery are being discussed. However, this all fits comfortably enough in the overall ambiance of the movie. Choice of music is excellent, enhancing the experience greatly. It was nice to see the REAL south of France with its strong Algerian influences instead of just the usual white bred high society crowd most people associate with Monte Carlo and Nice. In addition to Algeria, we also get some Russia, Bosnia, England..

P.S.: Young actress from Georgia Nutsa Kukhanidze is another bright spot managing for her vulnerable character Anne to also come off very sexy, chic and even debonnaire. Through her confident performance she really sells us on the notion of these hardened 'old' men being infatuated with a 17-year-old crack whore from Bosnia. And they say movies sugarcoat reality... :)