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“Sleight” is an ambitious genre mash-up about a young street magician who manages to pull off a nifty bit of trickery on his own in the film’s opening sequence.
J.D. Dillard, director and co-writer of his first feature film, masterfully blends intimate sci-fi thrills with dramatic, big-city dangers in his feature debut. As I was watching it, the image that kept coming to mind was “Chronicle” crossed with “Dope,” both in terms of its substance and the similar results it achieves with a limited budget. Sleight has also been described as “a superhero origin story” a number of times; and yes, you could look at it that way in that it’s about a young man growing up, discovering the full extent of his abilities, and (hopefully) using them for good.
However, Jacob Latimore’s lead performance as Bo, a promising young man who puts his dreams on hold and begins selling drugs in order to support his younger sister (Storm Reid) after their mother’s death, may be the most impressive achievement of all. A glint of his charisma could be seen in the laughably self-serious ensemble drama “Collateral Beauty,” which was released last year. Latimore is given the opportunity to shine in this setting, thanks to stronger writing and a more focused approach. He possesses a magnetic on-screen presence that is balanced by a down-to-Earth directness. He’s equally compelling when his character is quietly contemplating his next move as he is when he’s strutting around with a lot of swagger.
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It takes only a few minutes for “Sleight,” which Dillard co-wrote with Alex Theurer, to establish its world within a very specific Los Angeles setting. A voicemail message and a look around Bo’s bedroom revealed that he had once been a successful student with a promising future in electrical engineering, but that he had dropped out. At the moment, he spends his days entertaining tourists on the streets with card and coin tricks, and his nights working as a gofer for would-be big-time drug dealer Angelo (Dulé Hill). Considering Hill’s previous roles, which have primarily involved nice guys, this is a significant departure. He can be frighteningly charming at times, but he also becomes increasingly frightening.
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Bo starts out by selling a few items here and there to artists and college students who are just starting out. Some coke and a little Molly. He is in charge of the clubs. He is gathering information. However, when Angelo discovers that another drug dealer is brazenly encroaching on his territory, he calls on Bo—whom he considers a protégé—to take part in the kind of violent activity that is diametrically opposed to Bo’s nature and character.
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As in the tradition of slow-burning dramas such as “A Simple Plan,” “Sleight” explores what happens when an ordinary person is caught up in extraordinary circumstances, as well as the lengths to which he will go in order to keep himself from drowning. Dillard doesn’t exaggerate the gravity of the situation; he doesn’t have to. You can easily imagine how one bad decision could lead to another and then another, even as you convince yourself that you’re acting in the best interests of your family and friends by doing everything you can. And Dillard heightens the tension by keeping the action simple while increasing the pacing at a steady pace throughout the novel.
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The further Bo goes into his investigation, the more his sense of isolation becomes palpable. Because he is unable to reveal the secret that lies at the heart of his magical abilities—at least for the time being. Bo’s family consists of his inquisitive sister, Tina (Seychelle Gabriel), with whom he shares a warm relationship; his vivacious and supportive girlfriend, Holly (Seychelle Gabriel), whom he met while performing in L.A.’s charming Larchmont shopping district; and his next-door neighbor, Georgi (Sasheer Zamata of “Saturday Night Live”), who serves as an auntie figure to the family and a much-
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When it comes time for Bo to confront Angelo and take back control of his life, those hidden abilities come in handy—no pun intended. Despite this, the film becomes weaker as Bo’s strength increases; as the action grows in scope, so do the emotions’ perceived magnitude. Despite the fact that Dillard was wise not to attempt anything too massive or spectacular from an effects perspective on a shoestring budget, the climactic conclusion he came up with feels hurried.
This is still an impressive debut for this up-and-coming filmmaker, who used to work as a receptionist for J.J. Abrams’ production company, Bad Robot before making the leap to feature filmmaking. He undoubtedly has a slew of other tricks up his sleeve.
For more personality quizzes check this: The Book Of Henry Quiz.
