Its remake limps through disparate set pieces, disregarding geography, foiling tension, and wallowing in the same tired shots of the neon-blazed Strip you’d see in any other Vegas flick. The first film raced by at a riveting pace, chasing its sneering anti-hero through an elaborate labyrinth of grime and crime with one fight scene after another. (“You know what they say at the airport: never leave your bags unattended!”) Instead of allowing Vincent to be a cool but distant anti-hero, the adapted script from Andrea Berloff huffs to lace in “I’m doing it for my family” motivation, and blustering bravado through banter that’s more cringe-inducing than clever. But helmer Baran bo Odar can’t muster any suitable suspense, bogging the pace down with tedious backstories and aspirational sequel setup. It’s a premise that worked gloriously in Frédéric Jardin’s breathless breakthrough.
Now, this brooding dad must go to one of Vegas’s most imposing casinos to exchange a duffle bag of coke for his kid without being killed by a vicious kingpin or collared by the cops. Johnson) gets kidnapped by the very dealers Vincent ripped off earlier. Then he gets into a parenting tiff with his ex-wife (Gabrielle Union) before his jaded teen son (Octavius J.
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At the crack of dawn, he’s investigating a drug heist that he himself committed with his crooked partner, all while trying to keep a pesky Internal Affairs agent (Michelle Monaghan) off his ass. Sleepless follows police detective Vincent Downs through one hell of a day. And wedge into its 135 minutes much boring bickering between blandly biting baddies (Dermot Mulroney and Scoot McNairy), not to mention a string of scenes where flustered cops wait for elevators to arrive.
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Upgrade its setting from a claustrophobic French night club to a towering Las Vegas casino, despite the fact that lowers the stakes by offering more options for escape. Get a “big” name to sell it ( Annie and The Amazing Spider-Man 2’s Jamie Foxx). So how would Hollywood seek to recreate this lightning in a bottle? Oh you know. Sadly, even the foggy recollection of the original is better than this bloated bastardization.įor those who don’t remember or have never heard of it, Sleepless Night was the action film so fucking good it had critics arguing in favor of its Oscar chances, despite the Academy’s notorious genre bias. In the spring of 2012, I reviewed the French action-thriller Sleepless Night with unrestrained enthusiasm, calling it a film that “elevates the action genre to mind-bending and intoxicating territory with a fast-paced plot that’s peopled with intriguing characters, clever reversals, and above all relentless action.” With only vague but happy memories of this movie, I sat down to see its American remake, Sleepless. The aching downside of seeing a truly sensational foreign-language film is the thudding realization that a sloppy American remake is inevitable. Here is our original review of that film, which grossed $32 million worldwide on a $30 million budget in 2017.
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Publisher’s Note: Now that Netflix makes public its ten most popular films at any given time, we have witnessed that it’s largely a mix of new original titles like Extraction, a lot of Gerard Butler, and the occasional random title of an old movie that resurfaces on Netflix, like The Roommate or, this week, Jamie Foxx’s Sleepless, which was the most watched film of Netflix over the weekend.
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