The Safdie Brothers’ breakout film Good Time was a knockout sucker punch that benefited greatly from its total surprise as a grimy novelty. Robert Pattinson’s starring role as an irredeemable scumbag who systematically burns every social bridge he’s crossed in NYC to achieve petty, self-serving goals was the final severed tether to the actor’s previous life as a vampiric teenage heartthrob. The synth assault soundtrack from Oneohtrix Point Never pinned the audience to the back of our seats like an overachieving Gravitron. It sets out to disgust, rattle, and discomfort for every minute of its small-minded heist plot and it succeeds wholesale. At first it appears that the Safdies’ follow-up, Uncut Gems, aims to repeat that very same experience – bringing back OPN for another oppressive score, revisiting the grimy underbelly of NYC, and swapping out RPatz for another against-type actor who’s far more talented than the roles he’s best remembered for implies. The nature of this particular lead actor’s screen presence changes the texture of the film entirely, though, subtly redirecting the same basic parts of Good Time towards an entirely new purpose.
Adam Sandler stars in Uncut Gems as a diamond jeweler and gambling addict who’s willing to melt down his entire life for the chance of orchestrating the ultimate score. He shuffles borrowed money around from sports bet to sports bet, caters to a wealthy black clientele of rappers and athletes who are lightyears outside his expected social orbit, and obsessively nurtures the sale of an uncut Ethiopian gemstone that appears to have magical, cosmic powers (but isn’t worth nearly as much as he self-appraises it to be). Like RPatz in Good Time, he runs around NYC making petty, self-serving chess moves to seal this ultimate score until everyone in the world is pissed off at him: his wife, his mistress, his bookie, the various mobsters that he owes money, Kevin Garnett, The Weekend, everyone. Unlike RPatz, he responds to this exponentially growing list of enemies by shouting with the same apoplectic rage that defined Sandler’s comedic roles in 90s cult classics like Billy Madison & Happy Gilmore. Whereas Good Time is all clenched jaws & gnawed fingernails from start to finish, Uncut Gems distinguishes itself by being consistently, disturbingly funny – thanks to Sandler’s willingness to redirect his usual schtick towards the grotesque.
While Uncut Gems didn’t have me quite as enraptured or rattled as the surprise blunt force of Good Time did, I’m in awe of how it revises that throat-hold thriller’s template into a darkly comedic farce without losing any of its feel-bad exploitation discomforts. Sandler’s unscrupulous gambler/jeweler shamelessly benefits from the exploitation of diamond miners in far-off foreign countries and employees just under his nose, and the movie never lets him off the hook for these sins. Watching the walls close in on him as he makes crooked deals across town is weirdly, uncomfortably fun, though, if not only through the ludicrous caricature of Sandler’s performance. The Safdies amplify the humor of this grimy feel-bad comedy with throwaway gags about cosmic colonoscopies & bejeweled Furbies and, in a larger sense, by bringing all its disparate elements to a frenetic climax in a classic farcical structure. Still, the responsibility of changing the film’s basic flavor enough to distinguish it from Good Time falls entirely on Sandler’s shoulders. It’s a bet that pays off, as he’s capable enough to make the audience laugh while simultaneously making us feel like shit. Repeating that bet for a third revision of Good Time‘s template would be ill-advised, though. Hopefully, the Safdies will realize it’s time to walk away from the table while they’re still up and find a new angle for their next project.