Uncut Gems (2019) Review!!

Synopsis – A charismatic New York City jeweler always on the lookout for the next big score, makes a series of high-stakes bets that could lead to the windfall of a lifetime. Howard must perform a precarious high-wire act, balancing business, family, and encroaching adversaries on all sides, in his relentless pursuit of the ultimate win.

My Take – Like most of you I have also been a fan of Adam Sandler since his early days, hence it has been a upsetting sight to witness one of the biggest box office draws in the world, to not only to crash and burn in the last decade or so, but to go from being considered a respected comedian to an absolute joke in terms of selection of scripts.

While his brand of humor continues to resonate with a section of an audience, at least based on what Netflix contains to claim, for a general audience the Adam Sandler brand has become absolutely tarnished. There is no denying that he is a very talented actor, who when given a precise role especially with an incredibly emotional dramatic angle, absolutely manages to blow us away with an honest character portrayal, as seen in films like Reign Over Me, Punch Drunk Love and The Meyerowitz Stories, but they come so less and far in between, it becomes hard to consider them after a slew of bad comedy releases.

However in his latest, we once again get full dramatic Adam Sander, who here delivers undoubtedly his best performance yet, in probably his best film in a very long time. Credit goes to directors Josh and Benny Safdie, who previously helmed the excellent Robert Pattinson led thriller, Good Time, who here once again make a case for why they are the new masters of tension and momentum.

With their impressive culmination of unique characters, editing, dialogue and musical scores, their latest film further cements that the directors are truly two of the most exciting rising filmmakers working right now. Part basketball film, part gambling film, part addiction film, and full thriller, this is the kind of film that will make it to most the best of the year lists.

The story follows Howard Ratner (Adam Sandler), a fast-talking, neurotic jeweler who operates from New York City’s Diamond District and has a very intense gambling addiction. Owing debts to nearly everyone in his vicinity, Howard is always hustling for his next big score, especially to pay back Arno (Eric Bogosian), his aggressive brother in law, whose goons hassle him on a nearly hourly basis.

His personal life too is mess, he and his wife Dinah (Idina Menzel) are separated, but haven’t yet told their three children, and meanwhile he has been having an affair with his shop assistant, Julia (Julia Fox), who lives in his expensive city flat and under his expense. But he believes his luck is going to change, when he come into the possession of an uncut opal from an Ethiopian mine, a rare gem which he has arranged to have it sold at an upcoming auction for at least a million, hence solving all his problems.

However, Howard takes a poor decision on the insistent of Demany (Lakeith Stanfield), his assistant, who recruits clients, and allows Boston Celtics superstar Kevin Garnett (played by Kevin Garnett himself) to borrow the opal for one game, even though Howard needs to present it to an auction house the next day. And follows it up by pawning Garnett’s NBA championship ring as collateral, borrows more money, and bets it all on Garnett and the Celtics. A decision which unravels a complicated web of broken promises and unnecessary risk.

This is a film that heavily relies on pacing, editing, and performances. With a screenplay that requires nearly every performer to constantly be in motion or talking over one another, this film barely gives you a second to catch a breath. There isn’t a moment of drag, and only a few seconds here and there to catch your breath. Even the rather subdued auction scene is fraught with underlying tension. Each new scene seems to offer a new weight for us to carry alongside Howard until we can’t help but wonder who will be crushed first, Howard or ourselves, and each impulsive decision Howard makes ratchets up the intensity and anxiety for the audience, but is cleverly offset by moments of strategic comedic relief.

Without a doubt this one is near masterpiece of film-making, both in story and style, as it full cements the storytelling prowess of the director brothers, and acts as a worthy follow-up to their brilliant Good Time (2017). There are also more than one moment in the film, when you’ll likely ask to get off the ride, as the Safdies (and co-writer Ronald Bronstein) remain unrelenting in their approach to storytelling and world-building.

Now, however, they’ve become more expansive in their efforts. Yes, the terrible decision-making of Howard, does get a bit is frustrating, except the Safdies’ immersive technique works like a drug, creating a tone both illicit and invigorating. In effect, it becomes impossible to look away, even when the film slows down. And by the time the third act begins, you’ll probably wonder why you have been so invested in Howard because after all he is a scumbag, through and through.

He’s not someone to root for, and if anything, we’re hoping that he has an ill-fitting end. It’s everyone around him we’re concerned about. He has a brother in law, who’s with the mobsters that are demanding money from him, who only shows concern when the criminals stuff Howard in a trunk naked. Howard has a family at home that’s oblivious to the vultures circling above. He has a girlfriend, who while naive, doesn’t deserve the danger that Howard attracts. It all makes for some riveting scenes, where guns are never shown, but the threats and words exchanged foreshadow an exciting third act. Yet, what’s most remarkable about the film is that you end up rooting for him anyway.

Yes, after the double-dealing and anger mismanagement, the ups and downs with his girlfriend, family members, business associates, and Kevin Garnett, it’s still hard to resist cheering for Howard as he rounds for home on the score of his life.

While, some viewers will absolutely wonder what the point of the film was, due to the nature of how the final few minutes play out, but it was precisely these final moments that took me off guard and had me loving it even more, as it shows how the world that Howard inhabits is as chaotic as the man himself.

The Safdies brilliantly grapple with a number of intersecting narratives while ensuring that Howard as the connective tissue is always foregrounded. The frenetic cinematography courtesy of Darius Khondji catapults us into Howard’s perspective. His sublime and kinetic camerawork is enthralling, capturing Howard’s energy and throwing us into the deep end of his environment as we try to keep up with his rapid pace.

A major reason behind the success of this film goes to Adam Sandler and his magnificent performance, which is without a doubt his best yet. He is almost in every frame of the film, and uses his ridiculous qualities to become someone you can’t help caring about, much in the same vein of Pattinson’s Connie Nikas in Good Time. Sandler brings his oafish loud squawking voice and gauche fashion sense, in full form here.

Julia Fox is also incredibly good as the flaky, gold digging girlfriend. In supporting turns, Kevin Garnett is hilarious as himself, while Lakeith Stanfield, Eric Bogosian and Idina Menzel are fantastic. In small roles, Judd Hirsch and Pom Klementieff are efficient. On the whole, ‘Uncut Gems’ is an unsettling and intense dramatic masterpiece uplifted by Adam Sandler‘s terrific lead performance.