Director Report Card: Ridley Scott (2003)

14. Matchstick Men

By 2003, Ridley Scott had directed movies in a number of genres. Science-fiction, historical epics, action, fantasy, and horror were all well within his wheelhouse. One thing he definitely hadn't made was a comedy. In fact, the sometimes suffocating seriousness of films like "Gladiator" or "Black Hawk Down" suggested Scott didn't have much of a sense-of-humor at all. I suppose, after his last few films were such grim affairs, he wanted to lighten things up a little bit. "Matchstick Men" would see the director stepping outside his comfort zone to try something more fleet-footed and light-hearted. 

Roy Waller, along with his partner Frank Mercer, makes his living pulling petty cons on unsuspecting people. Mostly, he tricks old ladies into writing big checks by posing as salesman, contest runners, or IRS agents. Roy also has fairly severe OCD, which he barely keeps in-check with medication. After loosing his pills, he seeks out a shrink who encourages him to get back in-contact with an ex-wife, who was pregnant when she left him. This is when Roy discovers he has a 14-year-old daughter named Angela. She becomes part of his life, testing him and causing him to open up emotionally. Invigorated, Roy and Frank set out on their biggest con yet. 

"Matchstick Men" is based off a novel by Eric Garcia, who is best known for a series of novels about a detective who is also a dinosaur. If that didn't make it apparent, Garcia tends to write very quirky stories. That attitude extends into "Matchstick Men's" film version. Roy's tics and compulsions make him a non-standard protagonist. The dialogue is highly stylized. The film includes cute little touches, like Roy eating only tuna fish or hiding his money inside a dog-shaped bank. In fact, "Matchstick Men" fits pretty comfortably into a wave of indie-ish quirky comedies about family that were all the rage at the time. It predates movies like "Little Miss Sunshine" and "Juno" but feels akin to their style. Everything about this movie just screams early 2000s. 

That "Matchstick Men" is Ridley Scott's stab at the quirky indie comedy subgenre is very apparent in the film's visual direction. The film's opening credits have the scenes and names appearing in little boxes before sliding off-screen. The editing is fast-paced and comical. Hans Zimmer's score is jangly and fleet-footed, establishing the film's softly eccentric sense of humor. The cinematography and visuals continues in that stylized way. When an opened patio door triggers Roy's OCD, the film adopts his point-of-view, with searing colors and swirling audio. After being hit over the head, Roy's disorientation is depicted through similarly tilting visual. (Scott used this same trick in "Hannibal.") It's almost overbearing at times but it fits better here than in some of Scott's other films. Oh, and the slotted blinds in Roy's apartment allows for some of Scott's trademark lighting.

Definitely the quirkiest thing about "Matchstick Men" is its premise of a con artist with obsessive-compulsive disorder and Tourette's syndrome. That sounds like a TV show, doesn't it? ("Monk," which has a similar set-up, debuted the year before "Matchstick Men" hit theaters.) The movie is not an especially deep examination of these conditions. The obsessive thoughts that surely torment Roy, or the discomfort of dealing with uncontrollable tics, is not dwelled upon. Instead, the movie plays his rituals – opening doors three times or obsessing over his carpet fabrics – for humor. A scene where he has to confront his germphobia, by digging through some trash, is inevitable. The film ends with the mildly insulting idea that his disorders are entirely psychological and can be overcome strictly through a change in outlook. Though this does, at least, explain the unlikeliness of someone with uncontrollable compulsions being able to work as a con artist. 

"Matchstick Men" attempts to fuse this quirky comedy style with the con artist movie, a mini-genre with a distinct set of rules since at least "The Sting." We see this band of grifters set up schemes to bilk the unsuspecting out of their hard-earned cash. This involves elaborate disguises, false identities, and engineered distractions to do simple things like switch a pair of suitcases or get someone to write a check. It's nothing we haven't seen before but watching "Matchstick Men" go about its business is fairly entertaining. Watching the schemes come together, and wondering if the target is aware they're being ripped-off, is fun to watch.

Of course, the grifter genre has certain clichés and rules of its own. It's only a matter of time before one of the confidence games go horribly wrong. This occurs halfway through the second act, right on time, setting up a final third full of dramatic decisions. The biggest expectation of the con movie is that all the conmen are conning each other. This occurs as well, with a twist ending that you see coming from the film's earliest minutes. It's immediately apparent that the two storylines, of Roy's criminal day job and his reunion with his lost daughter, are connected. The minute the switcharoo goes down is obvious and leads to a climax lacking in surprise.

Yet this isn't such a big loss, because "Matchstick Men's" greatest joys have little to do with its routine storyline. As a movie about a thoroughly disaffected man forging a relationship with his unexpected daughter, which opens his heart back up, this is extremely charming. Angela breaks Roy out of his cycle, having him ordering pizza and getting out of his comfort zone. She's as observant about human behavior as he is, such as a scene where she convinces him to let her join the con game by talking about her teenage romantic life. The quieter moments are sweet too, when Roy tries to comfort her when she's sad or how they patch things up following an argument. These characters are well realized enough that you get invested in their relationship. The movie has a lot of heart and that saves it. 

Scott and his team are smart enough to realize that emotional core is way more valuable than the twists and turns of the story. After the big reveal, the movie jumps ahead a year in time. Roy and Angela are reunited by chance, living totally different lives. It's such a quiet and understated ending, that makes it clear that the relationship the movie is built on was more real than the twist ending made you think. It's a kind of sweet, kind of sad conclusion that gives us a perfect sense of closure. Considering Roy and Angela's bond is what makes "Matchstick Men" work, returning to it in the final minutes is the best decision the film could've made. 

"Matchstick Men" is able to sell its dual attributes of eccentric and heartfelt largely thanks to its cast. Nicolas Cage was an ideal choice for Roy. Obviously, a leading man as serially unpredictable as Cage relishes the chance to play a character with so many quirks. A twitching eyelid, emotional outbursts, and wild hand gestures seem so second-nature to him, you can't help but imagine he's like that in real life. Cage's "mega-acting" is certainly well utilized for comedy here, such as when he yells unexpectedly about pissing blood. Yet Cage's special talent as an actor is to make such oversized characters seem like real people. Roy isn't defined by his tics and has a complex inner-life outside of them. You understand and relate to Roy's problems, as ridiculous as they can be, and it makes "Matchstick Men" very sincere.

It also helps that Cage has dynamite chemistry with Alison Lohman, as Angela. Though Lohman is so effervescently charming that I think she could've had chemistry with anyone, including a cardboard cutout. There's no denying that Lohman is absolutely adorable as Angela, with her bright eyes, shinning smile, and chubby cheeks. She's completely convincing as a high-spirited teenage girl, that is so much fun to be around, that you long to protect. Watching her embrace her dad's career is a blast. It's such an obvious star making turn that it makes her career never quite taking off, and her eventual retreat from the spotlight, all the more disappointing. 

If "Matchstick Men" hadn't starred Nic Cage, it probably would've starred Sam Rockwell, another actor who specializes in rooting oversized characters in real heart. Instead, "Matchstick Men" costars Rockwell. Rockwell pumps up the attitude as Frank, who equally encourages and teases his partner. His easy-going sarcasm is a good fit for the movie's tone and plays off of Cage nicely. Bruce McGill also appears as the tough guy Roy and Frank rip-off, which makes good use for the actor's talent for blustery intimidation. Also, watch out for a cameo from Beth Grant as an enthusiastic woman in a laundromat. 

"Matchstick Men" would not exactly signal a new chapter in Ridley Scott. Right afterwards, he was went back to his usual blood soaked style. The movie received positive reviews but didn't make much of an impact on the box office and was a no-show during award season. Despite probably being a minor work for the director, I've always liked "Matchstick Men." It's breezy, cute, and funny. It doesn't overcome the cliches of its script but manages to be charming even with those flaws. Maybe I'm just a sucker for Alison Lohman's smile and Nic Cage overacting. Either way, I have a good time whenever I watch the film. [Grade: B+]