Two aspiring boxers and lifelong friends get involved in a money-laundering scheme through a low-level organized crime group.
Following the success of Doug Liman’s “Swingers,” fans were eager to see Jon Favreau and Vince Vaughn team up again for Favreau’s big-screen directorial debut, “Made.” Unfortunately, it fell far short of its predecessor. “Swingers” was an earnest, heartfelt indie comedy about heartbreak and dating in Los Angeles, whereas “Made” was a fast-talking, character-driven crime comedy about two hapless friends stumbling into organized crime. Both actors were charming and engaging in “Swingers,” where Vaughn played Trent, a confident, effortlessly cool guy. In “Made,” however, he plays Ricky, a clueless, abrasive, and relentlessly talkative character who nearly sinks the entire film.
The film follows Bobby (Favreau) and his best friend Ricky (Vaughn). Both are amateur boxers, and Bobby has ties to local mob boss Max (Peter Falk). Max sends them on a seemingly straightforward mission to New York City to act as “silent muscle” and help facilitate a high-stakes money-laundering scheme. He makes it clear—especially to Ricky—that they are not supposed to speak. Their contacts will handle the negotiations; Bobby and Ricky merely need to stand nearby and look intimidating. No sooner have they arrived in New York than Ricky disregards Max’s instructions and starts blabbering to anyone and everyone, boasting about his status and hinting that he and Bobby are carrying out a secret mission for a powerful mob boss.
Favreau is the strong silent type here. He knows how to play the game and wants to earn enough money to take his girlfriend, Jessica (Famke Janssen), and her young daughter, Chloe, away from Max, whom she works as a stripper and escort for, giving Bobby a personal reason to complete the job successfully. Yet every time the situation seems under control, Ricky intervenes and creates another problem. Bobby’s continued loyalty becomes harder to understand, since Ricky does little beyond jeopardizing them both. In the end, the “mission” is pulled off successfully, with both men returning to Max, but when Bobby discovers Jessica in bed with a client and snorting cocaine, he realizes that he is done and decides to call it a day. Bobby tries to convince Jessica to clean up her act for Chloe’s sake, but Jessica refuses and asks that he take custody of Chloe. He does, and he and Ricky leave town with Chloe, determined to raise her themselves.
A lot of familiar faces from “The Sopranos” appear, some all too briefly, but their presence lends the film a certain credibility and briefly raises the quality of the material. A promising crime comedy is buried somewhere in “Made”: the premise is solid, the supporting cast is strong, and Bobby’s desire to build a better life gives the story an emotional foundation. Unfortunately, Ricky overwhelms nearly every scene he appears in. As the writer-director, Favreau should have recognized that a character this abrasive needed greater nuance or moderation. Ricky’s whining, paranoia, arrogance, and endless chatter might have worked in smaller doses, but the film mistakes irritation for comic energy. I wanted to enjoy “Made,” particularly given the talent involved, but it left me wishing I had watched “Swingers” instead.
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