An ambitious and sexy con artist uses every tool at her disposal to obtain a fortune in jewels stolen by her mobster lover. To help in her plan, she woo’s first her lover’s deadly henchman and then his attorney, eventually falling in love with one of them.
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After years of hideous, haphazard comedies like, say, 2015’s Trainwreck or Spy, it’s a relief to watch a gently lit farce directed with wry understatement. It’s not visually flamboyant, and the camera’s still oriented primarily toward capturing performance, but it’s also full of subtle framing and repositioning that strengthen its gags.
Everything Otto does is ridiculous, but at least he’s in constant motion; his kinetic energy has a certain primitive appeal, as does his irrepressible nature, and his penchant for just blurting out whatever’s on his mind, without fretting about the consequences… Few films have been so predicated on a national rivalry; fewer still have pulled it off with so little rancor, and so much warmth.