Matchstick Men (2003)

★★★½
While I liked Ridley Scott's Oscar-winning Gladiator, I didn't think it represented his best work. He's a solid director, who made Black Hawk Down and Thelma & Louise some of the most talked-about films of recent years. Matchstick Men is another winner, a film of surprising complexity and strong characterizations. It features another stellar performance by Nicolas Cage, and a string of captivating supporting performances that enhance the film's rich texture.

Nicolas Cage is Roy Waller, a con-artist who theorizes that his victims foolishly hand their money over. He doesn't steal or use violence. He also suffers from a compulsive disorder that forces him to clean everything in the room, shine objects and dust shelves to the point that he can see his reflection. Nervous twitches and jerky bodily movements are also apparent. Pills can purge the disorder, but when he runs out, he ends up cleaning his entire house. He hates shoes on the carpet, and he eats only canned tuna.

His protégé is Frank (Sam Rockwell). They go on jobs together, coming up with elaborate traps for unsuspecting people. Frank notices Roy's troubles, due to his lack of pills. Roy begins seeing a new shrink, Dr. Klein (Bruce Altman), who prescribes the medication that Roy needs to get by. Roy begins to open up to discuss his problems. He mentions a marriage from long ago, so Dr. Klein recommends that he and his ex-wife reestablish contact. Roy doesn't quite take the doctor's advice, but he does get to see his estranged daughter Angela (Alison Lohman).

The movie takes three different plot threads and integrates them seamlessly into one narrative, and it makes for a very enjoyable time. Nicolas Cage plays Roy's neurotic compulsion with perfection, and it provides another complex layer for this already complex man. His relationship with his daughter develops into a touching aspect of the story. Angela, unknowing at first about Roy's job, provides slight comic relief, but she also gives Roy a chance to justify his actions. Once he reveals his true craft, he finds himself explaining why he does what he does, and we learn that he's not really proud of cheating people. It pays the bills, but it doesn't provide him with overwhelming satisfaction. When she wants to learn the tricks of the trade, Roy is hesitant, thinking that this isn't a life for her. She insists, and he goes to explain the rules and even teaches her a simple con that will net her some quick cash.

There is another complicated matter. Roy and Frank plan to steal a large amount of money from Chuck Frechette (Bruce McGill) through clever deception. When the job is suddenly rushed, Roy must use Angela as part of the plan, but this proves to be a risky move, since Angela has a past that could put the plan in jeopardy.

Nicolas Cage gives one of his best performances ever. Despite being what is basically a thief, he comes across as sophisticated and tormented. Making a con-artist into a sympathetic character is a credit to Cage's talent, but the fact that Roy is always a nervous wreck presents a greater challenge, and the actor pulls it off extremely well. Alison Lohman as the daughter is a pleasant surprise. I've never seen her before, though according to her filmography, she has a respectable body of work. She brings to the role the right touch of curiosity and innocence required for her character. Sam Rockwell, so effective as Chuck Barris in Confessions of a Dangerous Mind, provides a suitable partner and willing student. His dedication to the art of conning is surpassed only by his concern for Roy's condition.

Matchstick Men (slang for con-artists) is a great showcase for Cage's talents and Ridley Scott's thoughtful direction. It's more down-to-earth than Black Hawk Down and Gladiator and a fitting entry into the late summer slate. With the season coming to a close and theaters starting to quiet down from all the explosions of June, July and August, Matchstick Men should have no problem finding an audience ready for a clever movie.*

© 2003 Silver Screen Reviews

* Judging by the box office haul, I amusingly conclude that audiences were not on the lookout for a clever movie in September 2003. ¯\_(ツ)_/¯