The Little Things (2021) Review
The Little Things is John Lee Hancock’s version of a gritty crime thriller; borrowing elements from much better films and dragging its feet along the entire way. Though Hancock has made a variety of films in the past (The Blind Side, Saving Mr. Banks, The Founder, etc.) this definitely feels like a far cry from the rest of his material. It’s always interesting seeing a writer/director take on unique projects themselves but sometimes — it just doesn’t work and they end up weeding out the types of films that aren’t their strong suit. In terms of aesthetic and design, I think Hancock nails everything visually in The Little Things that makes one feel like they’re in a 90s crime thriller again; beyond that — it’s all flat.
Denzel Washington, Rami Malek, and Jared Leto all give tired retreads of past performances; the issue obviously being their characters having no depth to explore — leaving them in a position to act through a surface level of means. Take a shot everytime Denzel Washington goes on a “fakedeep” monologue — padding down an already needlessly slow movie. You’ll be sloshed by the time the credits roll, guaranteed. It’s not a film that feels like it has any purpose for being so “slow”; moreso feels like it’s forcibly trying to convince the viewers it’s “artsy.” When the film started, I had my expectations ramped up because it seemed that Hancock and Schwartzman were doubling down on the 90s gritty crime thriller; what they forget by the end is to actually lean into having fun within the genre. I’m not saying to make it a comedy or anything — but at least breathe some life in this film instead of forcing viewers to feel bad for the protagonist (the entire time) due to his “vague” past. It’s genuinely hard not to roll your eyes every time Washington’s character starts to ramble about his past ominously; there’s better ways to show a tortured man than saying vaguely depressing lines to himself. It doesn’t come off as “deep” or “intellectual” but, in fact, just more padding for an already hollow film.
The “twist” about Deacon (Washington) comes towards the end of the film and, by that point, it just feels like a sorry excuse for a “character study” so it’s hard to even take seriously. I feel like hiding this facet about the character was pointless; it could have actually added a lot more to his dynamic with the viewer if this was revealed much earlier on. Instead, we’re forced to meander around LA with boring shots of Washington driving around — staring ominously at everything he sees. So, by the end, all the momentum of this “grand reveal” is lost in entirety. Detective Baxter (Malek) gets caught up in this serial killer investigation and becomes mentally traumatized in the wake of all these deaths and no results. Albert Sparma (Leto) is the lead suspect in this investigation and he torments the righteous detective till even he crosses a line. Sounds familiar, huh?
Cinematographer John Schwartzman (The Amazing Spider-Man, Jurassic World, Fifty Shades Darker) deserves credit where it’s due though because this is a really great looking film and, honestly, a career highlight. The aesthetics alone of the film will surely convince many viewers that this is a crime thriller worthy of the ranks of some of the greats. But right below the surface lies a hollow film just begging the actors to take control and drive the reins.
Just go watch Se7en. Or Zodiac. Or Silence of the Lambs. Or Prisoners. Or Fargo. Or Nightcrawler. Or —
