Flypaper

A spoiler light review of Flypaper should begin with tone, because Rob Minkoff understands exactly how this comedy ought to feel. Flypaper gains early credibility from Patrick Dempsey, whose presence is balanced by the different rhythm of Ashley Judd. The foundation of Flypaper can be stated simply: A man caught in the middle of two simultaneous robberies at the same bank desperately tries to protect the teller with whom he's secretly in love. Within its 1h 27m running time, Flypaper reveals both the benefits and the limits of that disciplined approach.

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The acting in Flypaper is anchored by Patrick Dempsey, who treats even functional scenes as opportunities to reveal character. Ashley Judd answers that approach with a different energy, giving Flypaper welcome friction whenever the pace begins to settle. Around them, Tim Blake Nelson helps Flypaper feel like an ensemble piece rather than a vehicle with decorative support. Under Rob Minkoff, the performances in Flypaper share a tone even when the writing gives them unequal depth.

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As director of Flypaper, Rob Minkoff proves uncertain about tone and dramatic emphasis in the transitions between intimate material and larger demands. A strong scene in Flypaper often begins with a modest detail before Rob Minkoff lets its meaning expand. For Flypaper, isolated moments suggest a more compelling version because the central tone remains visible even during busy passages. The weakness in Flypaper is that events happen without gathering enough dramatic force, although Rob Minkoff usually finds the original rhythm again.

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Rather than summarise every event in Flypaper, it is enough to note how the central character places an important relationship under growing pressure. Patrick Dempsey gives that tension a face, which stops Flypaper from becoming a mechanical sequence of developments. Jon Lucas uses a difficult choice to widen the stakes of Flypaper without losing sight of the original problem. Where the wider conflict becomes predictable, Flypaper recovers interest through the consequences surrounding it.

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Flypaper uses its comedy framework to consider embarrassment, status and the gap between confidence and reality. For the character played by Patrick Dempsey, that idea gives Flypaper stakes beyond the next immediate obstacle. The recurring pressure of an important relationship prevents the theme in Flypaper from feeling like decoration added after the story. Rob Minkoff makes Flypaper more thoughtful whenever the implications remain inside action and reaction.

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Flypaper gains much of its identity from performer rhythm, a choice that makes the world readable as well as attractive. The contribution of The Safran Company allows Flypaper to combine performer rhythm with a consistent visual language. Within its Germany setting, Flypaper makes particularly good use of comic timing built around character when the story needs to change scale. Sound and editing preserve the personality of Flypaper by supporting detail instead of announcing every intended response.

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Overall, Flypaper amounts to a film for only the most curious members of its likely audience and should suit comedy fans who respond to personality and timing. The combination of Patrick Dempsey, Rob Minkoff and performer rhythm gives Flypaper a specific identity. Although events happen without gathering enough dramatic force in Flypaper, the film recovers through craft and committed performance. For the audience it understands, Flypaper offers enough character to remain worthwhile after the immediate plot has faded.