Heist comedy that’s so innocent and simple that it’s almost escapist, while also functioning as a time-limited portal to London in 1951. Inevitably then, the social etiquette on display feels quaint, but instead of dating the picture, its old-fashionedness proves key to its most moving scene, with philia between the two proponents — Pendlebury and Holland — cemented by the pair feeling close enough to introduce themselves on first name terms (“Al” and “Dutch”). Other highlights include a well-choreographed escapade on the Eiffel Tower, and a poignant denouement that succinctly inverts the opening. Plus it’s technically a mob movie.
B+
Alex Crisp : Not Another Critic 