“The Rip” is a piece of slick, propulsive entertainment that is highly aware of the conventions of crime thrillers and takes the needed efforts to offer a few surprises. Even if it makes the claim to be loosely based on a true story, the iconography of drug busts gone awry, dirty cops, and dangerous stashes of cash is nothing new for fans of grungy B-movies.
“The Rip” isn’t so self-aggrandizing that it makes bold statements about the infrastructure of the genre, but it reveals itself to be a much smarter feat of set-ups and payoffs than the straightforward premise may have seemed. January has become a month where studios tend to dump crime flicks that play like mediocre versions of “Training Day” or “Miami Vice,” but “The Rip” has a flair for the theatrical, twisty sensibilities of ‘90s neo-noir films like “The Usual Suspects” or “L.A. Confidential.”
“The Rip” is set in the aftermath of the murder of Miami police officer Jackie Velez (Lina Esco), which prompts an investigation into the team she regularly operated with. Lieutenant Dane Dumars (Matt Damon), Detective Sergeant JD Byrne (Ben Affleck), Mike Ro (Steven Yeun), Lolo Salazar (Catalina Sandino Moreno), and Detective Numa Baptiste (Teyana Taylor) may be under investigation by JD’s brother (Scott Adkins), and FBI agent, but they score one of the biggest busts of their career when they raid a stash hour loaded with millions in cash.
Considering that both Dane and JD have expressed their frustrations with the economic stability of their line-of-work, the notion of taking the profits for themselves is a seductive one. However, they aren’t the only players interested in the secret trove. The DEA Agent Matty Nix (Kyle Chandler) has his own team making raids, and the home’s owner, Desi (Sasha Calle), may have a connection to deadly drug traffickers.
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Joe Carnahan is unquestionably one of the most distinct crime cinema aficionados of the 21st century, as both his defenders and critics could admit that his films could never be mistaken for anyone else’s. While the last two decades have seen Carnahan working on high-stakes, action-heavy feats of spectacle like “Copshop” and “The A-Team,” “The Rip” is the most grounded and streamlined entry in his filmography since his breakthrough film “Narc.” Carnahan has an ear for how cops talk, how investigations are staged, and the types of details that could only be picked up by those who have spent years on the force.
If “The Rip” has anything to say about the current state of law enforcement, it’s that it’s all a matter of facts and figures. The initial cash seizure is the resort of financially pressed cops in need of a win, and the site itself could be claimed as a contested victory for the DEA, the FBI, or the local police department. The film has a more complicated mystery than the question of who is “dirty,” as it would be a better question to ask which lane of authority the characters are most loyal to.
It makes for an engaging story because the central group of characters must speak to each other in coded terms, making implications that none of them would be brave enough to speak aloud. Carnahan finds a way to make the dialogue both realistic and memorable. While no one has a Tarantino-esque monologue, there’s enough personality to go around, giving each actor a chance to shine.
Damon and Affleck, who also produced the film under their production company Artists Equity, have been such frequent screen partners that it’s impressive they’re able to continue drawing the best out of each other nearly three decades after their breakthrough with “Good Will Hunting.” “The Rip” is savvy enough to realize that it’s more fun if the two are cast in roles that may have seemed more naturally suited for one another.
Dane is the gruff, colorful team leader who speaks with a defiant sense of authority, whereas JD is burdened by family issues and is holding back personal issues that he’s not yet comfortable talking about. The evolution of the characters’ relationship makes for an effective bait-and-switch because Damon and Affleck bring an unpredictability to their roles, making it easy to question what both of their motivations might be.
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Although simply seeing Damon and Affleck bounce off one another is the primary selling point for “The Rip,” the overqualified supporting cast is able to bring individuality to roles that may not have been as fleshed out on the page. Yeun is a standout because he’s playing a character conscious of the fact that he’s been underestimated, a quality that the actor may share when sharing the screen with stars like Damon and Affleck.
Adkins, one of the most talented stunt artists in the world, proves that he’s improved as an actor and gets a few terrific back-and-forth scenes with Affleck. Taylor and Morena may feel a bit underwritten, but both actresses are charismatic enough that the sections focused on their characters are never a bore. However, the film’s scene stealer may be Chandler. While he’s best known as the sensitive, thoughtful star of prestige dramas like “Friday Night Lights” and “Bloodline,” Chandler is more than willing to chew the scenery with a delightfully hammy performance as a scowling FBI agent.
“The Rip” might tip its hand a bit too early based on how many open threads are introduced within its opening fifteen minutes, but a majority of the film is set within a singular location, which only escalates the stakes. Carnahan is a skilled enough visual artist that he’s able to maximize the possibilities for set pieces within a remote neighborhood and mysterious housing project, as the profanity-laden disputes are often as exciting as the fistcuffs.
When the film does transition into a more traditional action thriller, Carnahan flexes his filmmaking muscles with chase scenes that would put a majority of Netflix’s more expensive genre flicks to shame. “The Rip” isn’t as much a throwback as it is a fulfilling entry in a canon of easily digestible, serpentine crime cinema films, which would see a few new additions each year if the industry were in a healthier place. Although it’s a bit unfortunate that it feels like a novelty, “The Rip” is one of the better examples of what this subgenre can be.
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