Emily the Criminal Review

Student debt pushing people toward crime is the angle Emily the Criminal tackles, and it does so with aplomb. Finally, a feature that utilises the sincere talents Aubrey Plaza has as a lead. Not just any lead, an action star too. There are tensions and variable consequences littered throughout this John Patton Ford-directed piece. Plaza takes the reigns of this piece as the eponymous Emily, the troubled past tarring her with the usual slate of unemployability and bills to pay. In the face of great difficulties comes a state of desperation, and Emily the Criminal plays with those dingy opportunities in the face of being locked out of the rat race.

That is where Emily finds herself, and Plaza explores that superbly well. The tense interviews rattle off her past, and the desperation that comes with needing to pay off debts and student loans. A minor criminal record drives Emily further and further down that patchy road. Ford’s direction is focused intensely on the hopelessness that drives people in difficult spots. Emily the Criminal labels her as just that, but this feature relies often and frequently on the roadblocks put in the way of a woman attempting to pay off her student loans. Criminal behaviour is always there, profitable bits of dangerous work here or there that spiral out of control. If cinema has taught audiences one thing, it is that vaguely good people will be dropped into the darkest moments of their lives for no good reason.

Plaza adapts Emily well, and with someone shown to have brief scatterings of talent, the life of Emily is built up well. A few understated supporting performances shine through, mainly a great appearance from Gina Gershon. These tense displays from Plaza soon bubble over and go beyond what could be believable. Emily the Criminal is good fun but spirals out of control and piles on the unbelievable factor as swiftly and frequently as it can. Emily comes close to making good on her degree and her loans, but that would not be as satisfying an ending as the inevitable double crosses and action-packed chase scenes that Ford directs with great talent and refined skill. The turn of an ordinary person sullied with debt slowly shifting into a mastermind with money on the mind has been spotted repeatedly, but with Plaza, the performance is great yet the pacing is off.

Still, Emily the Criminal presents the moral quandary at the heart of those with money troubles. A life of risk and crime, albeit temporary for those that first believe that is how it works, will enter unfocused and concerned for their future. Plaza is great, that cannot be said enough. Satisfying the creative outlet with the financial reward is a complex rift to tie together, but Emily the Criminal showcases that it is possible, so long as credit card fraud isn’t an issue. Racketeering and dangerous encounters are not usually what art students have to deal with, but Emily the Criminal shows that could be a possibility for those out of luck. Plaza presents that with a great performance, guided by solid direction from Ford.