Pain & Gain (2013)

<strong class="MovieTitle">Pain & Gain</strong> (2013)

(Video on-demand, September 2013) Anyone with an interest in director Michael Bay’s career was eagerly anticipating this film: While Bay usually works with stratospheric budgets, wall-to-wall explosions, wild chases and omnipresent special effects, how would he deliver a low-budgets crime drama?  Fortunately, the result turns out to be interesting: Filmed with a relatively-paltry 22$M, Pain & Gain is a high-energy, low-morals crime thriller that harkens back to Bay’s Bad Boys films more than anything else.  Set in Miami, the film ends up playing like of those Florida-noir comedy-crime novels, with stupid criminals, reprehensible victims, duped collaborators and misguided law-enforcement officials.  Everyone is a bit crazy in Miami, and as our idiotic bodybuilding antiheroes get seduced into a life of crime, the plot gets loopier and loopier.  Mark Wahlberg is effective as a hustler (over-)taken by a self-improvement mindset; meanwhile, Dwayne Johnson is also remarkable as a self-destructive ex-con periodically restrained by his faith.  The film, however, really belongs to Bay, as he uses his usual glossy rapid-fire style to enliven an already-colorful story.  Pain & Gain moves quickly, seldom bores (although it occasionally disgusts) and is frequently hilarious as well.  There’s even a critique of the “American Dream” rhetoric if you look closely enough, which may be the deepest intellectual content in a Michael Bay film so far.  It won’t take much to make viewers regret the fiercely amoral thrust of the story (Bay is more likely to celebrate excess than to reign in good taste, and the gory excesses of Pain & Gain are similar to those in Bad Boys II), something that may weaken the film’s crazy-Florida-noir appeal.  While based on a true story, Pain & Gain takes a lot of liberties with the material… so don’t trust everything you see on-screen.  Heck, Bay even gets to throw in a car chase and an explosion.  The film is a bit long, which becomes a bit of a problem with Bay’s in-your face brashness: the second half isn’t quite as much fun as the first.  Still, the result is interesting, making anyone welcome Bay’s efforts whenever he gets a break from his mega-budgeted special-effects epics.

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