Brad Pitt and George Clooney reteam for writer/director Jon Watts excellent new crime action-comedy Wolfs.
Wolfs is writer/director Jon Watts’ true follow-up feature to Cop Car, after being sidetracked into the Spider-man universe. The film is about two fixers played by Brad Pitt and George Clooney, and their long dragged-out night in New York City because of an overdosed young kid played by Austin Abrams. Wolfs feels more akin to where Watts was headed before ascending into directorial superstardom. The resulting film may feel slight to some but for fans of his earlier work, it’s a refreshing palette-cleansing meal of a film with two very game Super Stars center stage.
What makes Wolfs so special beyond being the first Pitt and Clooney reteaming since Ocean’s 13 in 2007 (and no, the Coen’s Burn after Reading does NOT count) is just how small stakes and human level everything is. No one is saving the world or part of some giant global conspiracy. The film is essentially about three characters trying to survive a particularly bad night with a minimum of scrapes and bruises (both to physical self and ego). The way that Watts’ script turns the dials slowly to a “Spinal Tap” 11 takes a page from both the aforementioned Coen Brothers and the classic Midnight Run.
Watching Pitt and Clooney, as they head into the twilight of their careers, as dance partners in this film is a huge reminder of the power of Stars and what they bring to the table. Watts gives the duo space to find the ebbs, flows, and dynamics of the burgeoning contentious relationship. Some will feel that the pace during this section of the film lags. The counter to that is that Watts is working in a vein more reminiscent of the character work of the 1970s crime thrillers. These moments allow for the film to build until its alternately hilarious and thrilling action-filled finale.
Though Pitt and Clooney are the stars of the film, it’s the “third wheel” Austin Abrams that steals the show. As the overdosed kid, Abrams is an unexpected delight. The young actor is given the space by the two stars to run circles around them with his young agent of chaos that takes the night from run-of-the-mill bad to FUBAR. Much of the comedy comes from Abrams’ character’s (who’s just called Kid in the credits) luck or lack thereof in situations. The first words out of Abrams is a full-on monologue that’s the highlight of the movie if only the mid-film chase Abrams takes Pitt and Clooney on wasn’t there.
Wolfs ends as one might imagine at this particular hellish end of the night. As our characters begin to figure out their uneasy partnership has ended, we feel the same pang in our collective cinematic hearts sink as the characters do. Audiences can only hope that this concoction is successful, bearing another collaboration between Pitt, Clooney, and Watts. A film as well made and stylishly executed as Wolfs one cannot imagine that this isn’t in our future.
Brad Pitt and George Clooney reteam for writer/director Jon Watts excellent new crime action-comedy Wolfs.
Wolfs is writer/director Jon Watts’ true follow-up feature to Cop Car, after being sidetracked into the Spider-man universe. The film is about two fixers played by Brad Pitt and George Clooney, and their long dragged-out night in New York City because of an overdosed young kid played by Austin Abrams. Wolfs feels more akin to where Watts was headed before ascending into directorial superstardom. The resulting film may feel slight to some but for fans of his earlier work, it’s a refreshing palette-cleansing meal of a film with two very game Super Stars center stage.
What makes Wolfs so special beyond being the first Pitt and Clooney reteaming since Ocean’s 13 in 2007 (and no, the Coen’s Burn after Reading does NOT count) is just how small stakes and human level everything is. No one is saving the world or part of some giant global conspiracy. The film is essentially about three characters trying to survive a particularly bad night with a minimum of scrapes and bruises (both to physical self and ego). The way that Watts’ script turns the dials slowly to a “Spinal Tap” 11 takes a page from both the aforementioned Coen Brothers and the classic Midnight Run.
Watching Pitt and Clooney, as they head into the twilight of their careers, as dance partners in this film is a huge reminder of the power of Stars and what they bring to the table. Watts gives the duo space to find the ebbs, flows, and dynamics of the burgeoning contentious relationship. Some will feel that the pace during this section of the film lags. The counter to that is that Watts is working in a vein more reminiscent of the character work of the 1970s crime thrillers. These moments allow for the film to build until its alternately hilarious and thrilling action-filled finale.
Though Pitt and Clooney are the stars of the film, it’s the “third wheel” Austin Abrams that steals the show. As the overdosed kid, Abrams is an unexpected delight. The young actor is given the space by the two stars to run circles around them with his young agent of chaos that takes the night from run-of-the-mill bad to FUBAR. Much of the comedy comes from Abrams’ character’s (who’s just called Kid in the credits) luck or lack thereof in situations. The first words out of Abrams is a full-on monologue that’s the highlight of the movie if only the mid-film chase Abrams takes Pitt and Clooney on wasn’t there.
Wolfs ends as one might imagine at this particular hellish end of the night. As our characters begin to figure out their uneasy partnership has ended, we feel the same pang in our collective cinematic hearts sink as the characters do. Audiences can only hope that this concoction is successful, bearing another collaboration between Pitt, Clooney, and Watts. A film as well made and stylishly executed as Wolfs one cannot imagine that this isn’t in our future.
Wolfs is on Apple TV+ beginning September 27th
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