★★★☆☆
Above The Line is Jeffrey Scott Collins’s latest directing effort, a heist comedy that relies on heavy satire and a not-so-insightful look inside the walls of Hollywood to craft a crime comedy that stays very much within its own lane.
Written by Jeffrey Scott Collins and Jono Matt, the film follows six people who have all been screwed over by a Hollywood mogul and are tasked with stealing his most prized possessions: his five Best Picture-winning Oscars, for a life-changing amount of money.
The film is pretty clear about whom it has modeled its main antagonist after, from the sexual misconduct to the shelving of awards-promising films merely to keep them from a competitor.
“The film is pretty clear about whom it has modeled its main antagonist after.”
This makes the entire premise very satirical while grounding it in a sense of reality and the staggering truth of the gatekeeping within the industry, along with the misconduct that stems from it. Then, of course, there is the morality aspect and what people are willing to do to achieve success.
While the film is crafted as a comedy, with punchy dialogue, dimwitted characters, and moments that heavily reflect that, it also has a rather interesting character arc and reveal. While interesting and well-balanced, it is offset by moments of clearly over-the-top slapstick comedy that work but hinder the overall tone.
Borrowing aspects from films like The Usual Suspects, Logan Lucky, and Ocean’s Eleven, the film features a mastermind pulling the strings—someone no one knows, only hearsay about—with a group of people trying to pull off a heist.
It’s not as smooth and intriguing as Ocean’s Eleven, yet not as grounded and steeped in realism and wit as Logan Lucky. It falls somewhere in between, becoming the film’s biggest asset and weakness.
“It falls somewhere in between, becoming the film’s biggest asset and weakness.”
Collins has a clear vision for the film and the story he is trying to tell, although there are moments in the execution that make the film feel slightly off-tone, causing it to lean heavier into slapstick rather than a curated crime film.
While intentional and worked soundly into the film, the approach kind of takes away from the grander scheme of things. For the most part, the film is grounded in some sense—not completely raw and real, but believable, with just goofy enough of a plan to be plausible. Like a Florida Man story.
Adhir Kalyan’s role as Officer Dalton feels a little too tongue-in-cheek throughout, especially in his introduction to the crew. Having his character slightly more serious and less goofy would have given the film a more balanced tone, like Brendan Fraser and Arnold Vosloo in The Mummy.
While intentional and fun at times, the character feels slightly out of place. Not to the point of derailing the film, but far enough over the line to leave an aftertaste.
Pairing that with the bland big third-act reveal makes the tone feel withheld. You expect this grand, thrilling reveal, only for it to feel less grand, blending more into the rest of the film.
The film is well-paced, with a steady tone that rarely changes or alters, making for an entertaining film. Well-placed laughs and funny moments carry the film to the finish line.
With a score by Julia Piker that feels generic and kind of bland, it works well enough and offers a background to accompany the film without overpowering it or really complementing it.
The cinematography and editing are in a similar situation, but not quite. Garrett O’Brien’s cinematography and Joe Macek’s editing are arguably well-executed. The shots are crisp and well-framed, paired with clean cuts that are steady and consistent. Well-executed, but not exceptionally crafted.
“Well-executed, but not exceptionally crafted.”
Above The Line works as a crime comedy that takes a satirical look at the hierarchy of Hollywood and the means necessary to succeed, with a character arc that offers a unique insight: everyone starts to look down at those beneath them once they’ve made the climb, no matter where they come from, and it happens gradually, not instantaneously.
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