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For Matchstick Men, acclaimed director Ridley Scott turns his attention away from the visceral blockbusters he's recognised for in order to deliver a finely crafted drama and character study about con artistry and family life. An adaptation of the novel by Eric Garcia, this excellent motion picture successfully combines black comedy, drama, and (most importantly) a cluster of unforseen plot twists. Matchstick Men falls into a particular sub-genre of the thriller - a sub-genre concerning conmen and their disreputable trade. Some of these movies work, while others sink without a trace. The Sting and The Grifters are examples of great additions to this sub-genre, and Ridley Scott's Matchstick Men can now be self-assuredly added to that list. Granted, this flick is a large bevy of clichés mixed together in a cauldron. However, the product is an infinitely entertaining and imaginative plot-driven little feature. With director Scott's seal of approval, a wicked little script and several utterly fabulous performances, the clichés are stylishly disguised.
Roy Waller (Cage) is an obsessive-compulsive agoraphobic veteran conman. As he describes it, he's a "con artist. Flimflam man, matchstick man, loser. Whatever you wanna call it, take your pick". Roy and his partner Frank (Rockwell) only pull off small cons; little games that earn them a few hundred dollars at a time. Their slippery antics employed to implement these little cons keep the money flowing in, especially for Roy who has built a comfortable lifestyle owing to his clever deception. But Roy has a conscience (consequently unwilling to pursue a "long con"), is a neurotic, and his personal life is a mess. His life takes a dramatic turn when he discovers he has a teenage daughter - a child whose existence he suspected but never dared confirm. 14-year-old Angela (Lohman) enters his life suddenly, becomes intrigued by her father's trade and wants in on the Roy/Frank partnership. But, with a "long con" job finally coming down the pipeline, Angela's entrance may jeopardise Roy's peace of mind, not to mention his entire way of life.
Matchstick Men is more or less two movies magnificently spliced into one; each enriching the other. Cage's character takes centre stage in the first. The focus is on his psychological problems, his misgivings about his profession, and (most importantly) his relationship with Angela. The abruptness of Angela's arrival in his life opens up a world of possibilities he hadn't ever previously considered, while simultaneously making him aware of how unprepared he is for major life-changing decisions. The second concentrates on the conning escapades of Frank and Roy. Matchstick Men moves along confidently and expertly, diving into the lives of these characters while displaying their weaknesses and fully involving us in their exploits. The one truly detrimental fault in the story is that, in hindsight, too much of it depends on sheer coincidence and chance. The film ends with a saccharine-coated conclusion that, while tying up all the loose ends, feels tacked-on and uneven.
On top of being moderately suspenseful on occasion, Matchstick Men is also imbued with a sly, biting sense of humour. Character behaviour sometimes results in decent laugh-aloud moments (although it isn't really a comedy overall even if it is billed as one...don't expect a large dosage of broad comedy and you'll be satisfied). Matchstick Men is also emotionally satisfying, with the association between Roy and Angela becoming central to the storyline. The interactions between them are spellbinding and fascinating. There's even a slight hint of discovery in this relationship. Angela is given the opportunity to live the fantasy and find out what it's like to have a real father, and Roy is provided with the chance to experience the wonders of what he missed when his wife walked out on him fourteen years ago.
Understandably and encouragingly, none of this actually feels like a Ridley Scott motion picture. Restrained in style and carefully-paced, Scott's artistry is in a more subtle mode here. The director's efforts are truly remarkable, and he never allows a viewer to foresee any of the numerous plot twists. The characters are also grounded in contemporary reality without ever falling prey to the ridiculous. Matchstick Men isn't overflowing with lavish locales or big-budget action sequences... it's a simple comedy-drama (trademark tension is a key feature, mind you). Ridley Scott has helmed character-driven features before (Thelma & Louise, White Squall), but he's never previously done anything this light. For a filmmaker with no prior experience with comedy, Scott has a deft hand. Considering his experience as a director, though, would it have been rational to expect anything less?
The script is moderately derivative and it does contain a number of customary genre clichés, but screenwriters Nicholas and Ted Griffin still manage to elicit fresh-feeling material (Scott's lively direction also contributes to this). Dialogue is witty (a rarity these days), and characters are both sharply-drawn and well-developed. The cinematography is especially excellent as well - dizzying POV shots are quite stunning; providing insight into the condition of agoraphobia (a truly marvellous creative choice). Han Zimmer's laid-back, jazzy score is the definitive ingredient; establishing the right mood during the drama and cranking up the tension as the film begins to wind down. Also included is a selection of eclectic music, consisting mainly of classics such as the work of Frank Sinatra as well as Johnny Mercer. Matchstick Men delivers plenty - emotional investment with the three-dimensional characters, a narrative which engages from start to finish, and mind-blowing plot twists.
One of the movie's greatest assets is undoubtedly the talented band of actors filling the cast. Nicolas Cage places forth a wonderful portrayal of conman Roy Waller. In displaying the traits of his character's disorder, Cage never exaggerates and consequently comes across as extremely believable. This is definitely one of the star's best performances. Alongside Cage is the always-reliable Sam Rockwell; playing the partner in crime to perfection. Rockwell's performance as Frank Mercer (the name is a tribute to Frank Sinatra and Johnny Mercer) is infused with the right mix of cynicism and sincerity. The dialogue between Rockwell and Cage crackles with wit and intelligence (a rarity in films these days), providing an exceptional dynamic that keeps the film rolling along at a satisfying pace.
However it's relative newcomer Alison Lohman who steals the show; unquestionably outshining the superb stars working beside her. Her vivacious performance infects us with her energy and enthusiasm, combining a girlish innocence with a brash worldliness. As Roy's 14-year-old daughter, she's both adorable and believably natural. Her attire and mannerisms are spot-on...which is especially commendable, because she was actually 22 years old during filming!
Actors Bruce Altman and Bruce McGill also supply top-notch support - the former taking centre stage as a psychiatrist, and the latter submitting a grimacing performance as the latest con victim for Roy and Frank.
Tucking away his visual athletics in favour of something more leisurely and subtle, Ridley Scott (one of the very best visual directors in history) proves he is more than capable of helming special effects extravaganzas and intricate dramas with equal aplomb. The actors also prove their versatility, especially Nicolas Cage who places forth one of the greatest performances of his career. Matchstick Men is a sublime example of old-fashioned filmmaking, with a script that's far too delicious and cunning to spoil. For an entertaining, intelligent, slick comedy-thriller, this is hard to beat.
8.1/10
