Smokin' Aces

Smokin’ Aces is essentially just another variation on the music-video-inspired crime flick in the style of Guy Ritchie that won’t surprise you with anything new. However, the adrenaline-fuelled dynamics and the exposition of the bad guys are at a high level, and if the film had a slightly slower build-up with a more thorough introduction of the characters, the bloodbath climax could have not only faked BIG EMOTIONS, but actually evoked them. And then it would rank among the better gangster cult movies. Joe Carnahan’s slapdash dramaturgy weakens the impression that the film makes as a whole and leaves “only” the visual/editing treats (something similar could perhaps be said about the first Kill Bill, but that film has the benefit of Tarantino’s more original concept). (01/17/2007)

My opinion of this film hasn’t changed even after all those years since I saw it for the first time. Joe Carnahan seemed like a schizophrenic - while a part of him wrote and directed quality action scenes and managed to add a good dose of humor to this crime thriller, the other part added many illogicalities, unnecessary dialogue and an inner struggle of the goody-goody main character. But I must say that the role of a puppet was the best I've seen from Ben Affleck so far. (04/23/2020)

On one hand, it's unnecessarily long and drawn out, yet on the other hand, there are excellent acting performances (led by the cool Ben Affleck), great individual scenes, excellent action, and disarming stylization. What is unforgivable, however, is the weak story that is so piecemeal that it is a) impossible to navigate and b) almost completely unengaging. Carnahan has talent but it would be better if he made movies based on screenplays by someone else. (07/14/2007)

When someone tries to be above it all, inventive and original, it doesn't always work out. Once a more capable screenwriter writes Carnahan a good, action-packed script with lifelike characters, there will be a great chance of creating a fantastic action film (greetings to The A-Team). However, as long as the director writes self-indulgent, intertwined stories with disgustingly many characters, the audience will only receive the divine action without a more meaningful plot. In the script, there are several major logical gaps that, even though I am usually tolerant of action crime movies, scream very loudly. The main one is undoubtedly the fact that although Buddy seemingly has reliable protection around him, he often remains alone and vulnerable. I also disliked the deliberately exaggerated endurance of the bullet-ridden heroes who keep breathing even with a magazine in their body. Despite countless characters in the movie, there is only one with whom you can identify better - the tough and determined agent portrayed by the fantastic and charismatic Ryan Reynolds. The rest are heartless bureaucrats, tough black women, or even perverted neo-Nazis. Reynolds is responsible for the best non-action moment of the film - a stylish and badass ending, thanks to which the taste of the film remains much better than it deserves. (04/27/2007)

Director Carnahan beat screenwriter Carnahan in a short sprint by several lengths. The first two acts are an audiovisual ride with some fresh ideas, in the style of Ritchie's best flicks, but towards the end, the engine of the sports car stutters in such a way that it parks in a garage with a sign saying "Reynolds' Fateful Drama" and slowly dies there. If they had let the sports car go past the finish line and not stepped on the brake, it would have been worth four medals. (01/09/2008)