After his revelatory supporting turn in last year’s Anna Karenina, Law proves once again that a leading man can become a kick-ass character actor.
He plays the eponymous Dom Hemingway, a foul-mouthed, cocky (just listen to his hilarious, ribald opening monologue) safecracker who’s released from prison after 12 years and goes looking for the money that’s owed him and the daughter (Emilia Clarke, unrecognizable from Game Of Thrones) who grew up in his absence. It’s a ferocious comic performance with layers of pain, hurt and guilt bubbling beneath the raucous, vein-bulging exterior.
Shepard’s film succeeds in matching the manic depressive energy of Law’s performance. It’s filled with bold colours, big clear chapter titles and a couple of marvellously fun set pieces.
The supporting actors – Clarke, Demian Bichir as a sinister crime kingpin – are good but don’t have much to do. Grant’s role as Dom’s best friend is essentially a series of nervous reaction shots. He deserves better than that.
But Law is feckin’ brilliant ——————————————————————————–