Entrepreneurs Scott and Nicky are desperate for cash to finish their construction project. They turn to Russian mobster Yuri, but after refusing the funding he offered them, Yuri gets revenge by trying to take over their project. The partners are terrified and have nowhere to turn for help until Nicky’s tough Russian girlfriend Ana decides to step in and help them.
Beginning with a bizarre scene on a train passing through Russia, a woman is assaulted by two goons who encourage her to scream as she remains helpless. She stops yelling and the scene fades to black, cut to five years later in Los Angeles.
“American Dream” is directed by Spielberg’s old cinematographer Janusz Kaminski, who hasn’t helmed a feature since 2000’s “Lost Souls.” I’m curious as to why this script compelled him to get back in the director’s chair.
Business partners and best friends, Nicky (Michael Huisman) and Scott (Luke Bracey) are attending a Russian wedding in an ugly building. During the ceremony, a ringing cellphone is dramatically silenced by a mysterious man named Yuri (Nick Stahl). Yuri offers Scott some “Scarface” advice with the tropes of money, power, respect, etc. Just like the script, the editing is clunky and scenes just suddenly end like they couldn’t finish filming for the day. All the while a very 1990s score with Eastern European violins and Michael Bay acoustic dramatic guitar plays way too often.
The young partners are building an apartment complex and running out of funds to finish. Scott is determined to ask some Russian mobsters for the necessary cash. Nicky’s father is played by Elya Baskin who is an excellent actor but here he’s relegated to a stumbling drunken Russian. Plenty of scenes are full of exposition without any substantial chemistry or insight into the undeveloped characters.
Perhaps Keith Dunkerley, the film’s cinematographer, is to blame for the awful look. Night scenes are half-lit and so dark that it feels like a mistake rather than a deliberate choice. And daytime settings don’t fare much better with everything too bright like some cheap soap opera filmed in Burbank.
It’s still early in 2021 but it’s safe to say this is one of the dullest thrillers of the year. Even with a few solid actors, there are no performances or moments to enjoy. Having said that, I was happy to see Nick Stahl back in action. Years ago he was one of the most talented young actors, appearing in plenty of acclaimed films. He had some personal issues that forced him out of the limelight for a while but he looks healthy and I wouldn’t be surprised if he’s planning a comeback. I just hope he doesn’t sign onto anything like this again.
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