ST. LOUIS — Being born into the family business has its benefits, but I'm not sure Old Dolio (Evan Rachel Wood) would agree.
The daughter of veteran grifter, aka invisible thieves, parents (Debra Winger, Richard Jenkins), Dolio is quiet and does whatever her parents ask her to do, whether it be a guinea pig for a potential score or even trying to soak up the last drops of worth out of a return reward. Dolio doesn't exactly want out just yet, but she's not sure who she is and what her place is in life. As her eyes start to widen a little bit on her parents' criminality-something she is forever linked-a stranger (Gina Rodriguez) is welcomed into the crew, causing unusual yet expected issues while also offering some unexpected nuance.
Miranda July's "Kajillionaire" spins a good tune off the intriguing setup. Let's be honest here and admit con artist films are like pumpkin spice lattes in October to movie fans, instantly attracting the interest of anyone who knows a grifter like the ones in the movies or always wondered what it would be like to live on the outskirts of the law. Winger and Jenkins are a couple of pros, carving out performances that make you both laugh and cover your face in appalment. It's not like they mistreat Dolio in any physical way, but they are slowly destroying her mentally with each job they pull off.
Winger has chosen her roles wisely over the past few years, and Jenkins never offers a false note, often heightening every scene he's in. He can combine whimsical, oddball, and genuine heartfelt drama all at once. Winger's sad but true monologue towards the end is a slam dunk, a classic reminder of her unique blend of acting power. Respect.
But this film belongs to Wood, who gives the finest performance of her career as a woman trying to figure out if this new girl on the team is a sabotage of her future or a potential way out of a life she was born into yet didn't agree with. I'll be honest and admit I haven't always been taken with the actress, whom many television fans know from HBO's hit series, "Westworld." A little too robotic or a lack of substance made her disappear, and not in a good way.
But here, in a role without a ton of dialogue, Wood packs her hardest punch yet as Dolio. You both sympathize with her situation while wondering what is beneath the hood, trapped under her parents' aspirations. July needed an actress who didn't have to overpower the screen in order to give a performance, instead striving for the nuance that a spiked ordinary life can elicit. It's very fine work from Wood. Like the film's impact, it's a little unexpected.
I say that because, once you get past the style and flashy dance of these criminals among us adventures, the thrill starts to die and they don't mean anything. "Kajillionaire" doesn't go that route, instead meaning something in the end and bringing its well-known story into unknown territory. The ending doesn't provide easy answers or spell out every plot thread, refusing to tie a neat bow on an edgy coming-of-age tale. But I felt something more as the credits started. I felt an impact at the heart level, something that "Matchstick Men" achieved with its wonderful bridge ending.
Miranda July takes us on a meaningful ride here by making Old Dolio's story count the most, allowing the other characters to bounce off her actions, instead of the other way around. It's not like a life of easy-yet-addicting crime is the worst thing in the world, but eventually, your soul will look up at you and demand an explanation when the smoke clears. Dolio's eyes are opened, and Wood makes that worthwhile to see.
I'd like to think of this movie as a well-known lager with real good taste in its ambitions. Right when you least expect it, the movie makes a dent, and does so without being overly preachy or routine.
It arrives in theaters on Friday.
