Who loves ya, baby?
I still haven't seen a trailer but this review's promising.
An awe-inspiring prologue, set in shadowy depths of an Ethiopian mine, chronicles the discovery of a costly rock filled with shimmering opals. The ominous sequence suggests a hat-tip to Indiana Jones, at least until the movie turns psychedelic. The camera careens closer and closer to the rainbow-colored diamonds and then keeps going, veering inside their fibers as if channeling the star gate in “2001: A Space Odyssey.” But as the shot resolves itself within Howard’s colonoscopy, the magic becomes entwined Howard’s rough-hewn world, epitomizing his desire to possess otherworldly power even as his actual world constantly unravels.
Adam Sandler has embodied many obnoxious, self-absorbed figures over the years, but with “Uncut Gems,” he plays the most contemptible character in a 30-year career. Directors Joshua and Benny Safdie’s followup to “Good Time” is on that same wavelength — abrasive, deranged, driven by an insuppressible blur of movement and noise. It’s also a riveting high-wire act, pairing cosmic visuals with the gritty energy of a dark psychological thriller and sudden bursts of frantic comedy, and it’s the first movie to truly commune with Sandler’s performative strengths since “Punch-Drunk Love.” If “Uncut Gems” leaves people rattled, disoriented, grasping for clarity in the chaos of one man’s hectic routine, that all speaks to the sheer precision of a visionary achievement in full control.
The Safdies add one more impetuous creation to their jittery New York City milieu, and it’s a hypnotic blast to watch him come to life.