Daniel Pemberton’s jazzy score is an eloquent accompaniment to a tale that’s ultimately a fable about love, loyalty and power.ĭana Barbuto may be reached at or follow her on Twitter REVIEW Norton, a three-time Oscar nominee (“Birdman,” “Primal Fear,” “American History X”), affords Lionel a Jimmy Stewart-like sincerity, and the character’s neurological affliction, lends itself to comical outbursts that help animate the movie but more importantly, it invites us into the world of lonely guy looking for connection. More seasoned moviegoers will spot double-crosses and other clues that point toward the resolution, but the movie’s interest rests in watching Lionel suffer the crooks and killers without losing his sense of humor or basic goodness. It’s too bad, because their bantering and bickering spices things up. Lionel’s posse at the seedy neighborhood detective agency (Cannavale, Suplee, Roberts) is all one-note, fading in and out as needed. Dafoe (“The Lighthouse”) can do crazed constituent in his sleep. Mbatha-Raw (“Belle”) is radiant and empathetic as the woman at the center of the mystery.
In a meta turn, Baldwin plays him with full-on Trumpian bluster and glee.
As Lionel digs deeper into Frank’s last case he finds himself squaring off with the megalomaniacal Moses Randolph, the most powerful man in New York City.
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