Wolfs, 2024.
Written and Directed by Jon Watts.
Starring George Clooney, Brad Pitt, Amy Ryan, Austin Abrams, Poorna Jagannathan, Richard Kind, and Zlatko Burić.
SYNOPSIS:
Two rival fixers cross paths when they’re both called in to help cover up a prominent New York official’s misstep. Over one explosive night, they’ll have to set aside their petty grievances and their egos to finish the job.
Wolfs is light on plot, and for good reason. From writer/director Jon Watts (his first non-Marvel film in what feels like at least a decade), this film comfortably coasts on the star-power chemistry of George Clooney and Brad Pitt. It’s easy to see why: Even when there isn’t any forward momentum or much being revealed about the crime mystery, their bickering keeps the proceedings entertaining just enough.
They each play nameless fixers who end up assigned the same job, an unfortunate incident between a woman (Amy Ryan) and the much younger man (Austin Abrams) she took up to her hotel room, who started getting rowdy, jumping on the bed, and accidentally falling backward into a glass table that appears to have killed him on impact. Conveniently, someone had told the woman who to call if such a crazy event should transpire, so that’s what she does. Initially, George Clooney’s fixer shows up, confidently relaxed, convinced that he is the only one doing with this skill set. Much to the woman’s and his surprise, Brad Pitt shows up as a fixer working directly for the fancy hotel, claiming he is here to ensure the mess is cleaned up.
The simple sight of Brad Pitt sitting at the kitchen table drinking some product placement Coca-Cola, smugly watching over George Clooney, asking the same questions to the woman (something that feels embarrassing considering the nature of who she was with, why, and what happened) is amusing. From the moment these two are in the same scene together, a pissing contest develops between two guys who are too egotistical and stubborn even to contemplate acknowledging that they might essentially be the same person. Simply put, Jon Watts milks that back-and-forth for all it’s worth.
There are also some smaller character details, such as George Clooney’s fixer being a bit full of himself and not being above taking some assistance. He has, theoretically, been doing this for so long that he hasn’t even bothered to stop and think about other people doing the job, different techniques, or even father time. Meanwhile, Brad Pitt is the slightly younger fixer on the block with a chip on his shoulder who doesn’t want to admit or show that George Clooney’s problem-solving methods impress him and sometimes come with a cool flair.
Together, they must coexist and not only dispose of the body (which obviously turns out to be still alive; otherwise, the character wouldn’t be played by a noteworthy actor like Austin Abrams) but also investigate the source of drugs they stumble across in the apartment that their bosses want to be returned to their rightful owner. Naturally, the two try questioning the young man, who hilariously comes to quickly assume that they have been partners for ages and are the most awesome guys this nervous dork has ever met. Most importantly, Austin Abrams makes for a funny third wheel, anxious and perhaps even a little determined to be as fearless and cool as his new heroes.
For the longest time, much doesn’t happen here. Even when things transition into an elaborate chase sequence across the streets of New York, it comes across as a mildly entertaining distraction from the fact that there isn’t a whole lot to this movie. That’s not really a problem until the film does start explaining some things, in which it starts to get a bit bogged down by plot, including a convoluted closing chapter that ends right before some more bullets fly, as if Jon Watts is already testing the waters for a sequel.
If there is more to come, it would be nice to see Jon Watts bring some edge back because, as is, Wolf doesn’t feel like a return to form or something new but more like applying his knack for mainstream crowd-pleasing to a different genre. It’s disappointing for anyone expecting something like the twisted thrills of Cop Car, as if something about this film was heavily tested for accessibility. It’s the cinematic equivalent of Coca-Cola, with George Clooney and Brad Pitt making it work through sheer force of charisma.
Flickering Myth Rating – Film: ★ ★ ★ / Movie: ★ ★ ★
Robert Kojder is a member of the Chicago Film Critics Association and the Critics Choice Association. He is also the Flickering Myth Reviews Editor. Check here for new reviews, follow my Twitter or Letterboxd, or email me at MetalGearSolid719@gmail.com
