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American Made 2017

American Made 2017

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Featuring one of Tom Cruise’s best performances in recent years, American Made is a darkly funny, dizzying crime film that nevertheless ultimately feels inconsequential and overly familiar.

Like so many other true crime flicks made in the wake of GoodFellas, American Made is a years-spanning saga told in a sprawling yet frenzied fashion where the protagonist recounts his criminal career from its simple origins to its decadent heights to the desperately paced, walls-closing-in downfall. From Blow to American Hustle (which also would’ve been an appropriate title for this movie), we’ve seen this same form of true crime film execution done so many times already. (Hell, even Scorsese borrowed from his own playbook for The Wolf of Wall Street.)

Taking place from the late 1970s to the mid-’80s, American Made chronicles the (loosely) fact-based story of how Barry Seal (Tom Cruise) went from being a bored airline pilot smuggling Cuban cigars to a CIA operative covertly running guns to the Contras while also simultaneously delivering drugs stateside for the Medellin Cartel.

Barry’s a good ol’ boy looking for fortune and excitement and, at first, he gets his fair share of both. But for the men he’s dealing with, at home and abroad, life is far cheaper than the narcotics they’re trafficking or the foreign policy objectives they seek. Barry may be able to deliver the goods like no one else but he’s also a liability.

Barry is a blithe rogue but he never really transforms or grows. His circumstances may change, but Barry himself never quite evolves or even registers emotionally as a character, despite Cruise’s charm offensive. Director Doug Liman, who previously cast action hero Cruise as a coward in Edge of Tomorrow, has admitted he cast Cruise as the high-flying, Reagan era pilot because of Top Gun. As clever and subversive as Cruise’s casting is, though, the story never quite finds a way to make Barry more dimensional than, say, one of the Dukes of Hazzard (albeit with a plane instead of a muscle car).

It’s tough to care much about most of the other people in the story or to quite grasp what it all really ultimately meant or mattered. Domnhall Gleeson shines as the career-minded CIA agent who recruits Barry, while Get Out’s Caleb Landry Jones once again proves he can play a creep like no one else. Sarah Wright does she what she can with the underwritten role of Barry’s much younger wife Lucy, who may question where his windfall of riches stems from but still enjoys what it brings her. Jesse Plemons and Lola Kirke must have had most of their scenes end up on the cutting room floor seeing as how little screen time they end up with here as an Arkansas sheriff and his wife.