Four young men mistake their lives for a movie and attempt one of the most audacious heists in U.S. history.
“They wanted things to come easy to them. They didn’t want to work for a transformative experience. I find them all very selfish,” a crucial character says of the four “American Animal” protagonists.
One could argue that that’s the redefined American Dream: minimum effort or initiative in pursuit of prosperity and, particularly in the case of our antiheroes, identity. Director Brad Layton explores that misguided search for instant gratification through the prism of a heist film, similarly to how his previous film, the haunting documentary “The Imposter,” explored grief under the guise of a mystery. The writer/director again effortlessly blends genres: “American Animals” is hilarious, wistful, ironic and so tense it threatens to explode off the screen. It’s also an exploration of truth and reality, questioning the subjectivity of opinion versus fact. Payton, like a maestro at the height of his career, conducts this orchestra confidently. What a thrill to see a confident filmmaker emerge amongst of slew of wannabes with increasingly awesome projects (another recent example is S. Craig Zahler, who made “Bone Tomahawk” – and then proceeded to deliver the even-better “Brawl in Cell Block 99”).
Welcome to Transylvania University in Kentucky (that’s the real name of this non-vampiric educational establishment). Spencer (Barry Keoghan) hates his fraternity. His only friend is another outcast, the edgy and eccentric Warren (Evan Peters). When Spencer discovers that the world’s most valuable book, the $12-million dollar “Birds of America” by John James Audubon (birds is a running emblem of the film), is held in a glass case in the Transylvania University library, he suggests they steal it. What starts as a fantasy rapidly begins to take form as reality. Brash, impulsive Warren can’t let it go. “Neither of us were really serious about the idea,” the real-life Spencer comments longingly. “Oh, I was very serious about it from the start,” the real Warren states proudly.
The plan gets more elaborate. Warren (supposedly) hooks up with a “fence,” a buyer, whom he meets in Amsterdam. (Sidenote: The buyer’s name is Mr. Van Der Hoek and he is played by the eminent Udo Kier). Warren recruits a third member for the team, the self-professed loner Eric (Jared Abrahamson), and then a fourth – their getaway driver, the prodigious athlete, Chas (Blake Jenner). By the time the Day of the Robbery comes along for those four hapless punks, you’ll be firmly clutching the edge of that seat, guaranteed.
Layton reveals the film’s layers by peeling them off, one by one. But the tension is character-based, which makes it that much more effective. Warren’s family situation comes into play, his “happy-go-lucky” attitude a front for a deep insecurity. Evan Peters is an absolute live-wire in the role. Abrahamson almost has the more challenging task in a supporting role; Eric’s motivation for joining the gang is touchingly simple but resonates throughout the narrative. As for Spencer – an effective change of pace for Keoghan, after his memorable creepy stalker turn in “The Killing of a Sacred Deer” – he is a “tragic artist,” looking for some sort of an affliction to discover joy in his privileged life. All ants, scrambling to achieve that unattainable Dream.
Sure, there are a few minor flaws. The ending is a tad overwrought – Larry Clark, master of “in your face” controversy, was more subtle with the similar “justice served” finale in “Bully.” There are some questions that remain unanswered. But I think that’s the whole point. Whichever biased version of the story you believe, you feel the same sense of adventure, joy, and despair that its characters did. Eric’s recruitment is hilarious (“This is your red pill/blue pill moment, my friend!” Warren taunts him.) Chas, who is described as a wonderful, uber-intelligent individual is recruited by the gang not for his brains or knack for success, but for his money. There is an elevator mistake that made me burst into laughter. A tongue-in-cheek throwback sequence to Quentin Tarantino’s “Reservoir Dogs” is another spit-take. Yet Layton smoothly switches tones when it comes to the darker sequences, such as the ones involving the heist, and the librarian, Betty Jean Gooch (Ann Dowd).
“American Animals” comes at you unexpectedly, like a truck out of a quiet black tunnel. It has gut-busting comedy, nerve-shredding suspense and heartrending drama, complemented by a thumping soundtrack, but it also functions as a study of the genre – the “heist movie” – itself, and how it reflects this country’s giddy, unabashed search for self-fulfillment at the expense of others. It effortlessly blends documentary and fiction – one flows in and out of each other fluidly, sometimes within the same moving shot or through cunning editing (one character actually sees his real future self at one meta moment). The line between reality and fiction blurs and becomes irrelevant. What’s relevant is how enthralling and fresh it all feels, despite a few tiny missteps on the way, and how the director manages to pull off a great action comedy, heist thriller and sociopolitical commentary – all with aplomb. This American Animal has a lot in store for him. He’s achieved the Dream, the old-school way.
Available on Blu-ray, DVD & VOD August 28th
