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In the film, Pattinson, playing a petty criminal named Connie, sports a Queens accent and a shifty intensity; Connie’s a no-good guy trying to do right by his brother, Nick, who is developmentally disabled.But (though I’m still not sure what the title means), but that’s really all there is. The film is a nice resume line for all involved, a technical feat that announces the arrival of talents both new and newly recontextualized.If only all that solid stuff had a stronger gravity to it, an undertow that drew us from our assessing distance and into the picture.But they seem out of place in the larger context of the film, like they’re grafted on as ploys for empathy or deeper meaning.
It’s a mildly manipulative tactic, one that mirrors the way Connie exploits the kindnesses and vulnerabilities of the people he meets as he makes his night flight.
The film has an unrelenting momentum, and throughout, the Safdies exhibit a keen ability for capturing locality and arresting visual moments.