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Uncut Gems is a constant chaos

  • Writer: JORGE MARIN
    JORGE MARIN
  • Oct 3, 2022
  • 2 min read

Updated: Feb 16



Uncut Gems is an asphyxiating movie with a quick narrative, overlapping dialogues and always surprising approach. There is no way to predict movements, and actors act as if there is no script, hardly listening to each other precisely as we do in our natural world. Most of the scenes go from the perspective of Howard Ratner (Adam Sandler).


Soon we are introduced to this explosive protagonist from the inside out: the initial scene is a colonoscopy. Continuing action, Howard is on the streets of New York on his way to his jewelry store, bumping into and interacting with all sorts of crooks, thieves and abusive pawnshop owners.


The arrival at his store reveals more chaotic situations. Among the customers, there are two thugs hired by his brother-in-law Arno (Eric Bogosian), with whom Howard has a debt he never pays because he is always betting on the money he can earn.


Dividing his life between his wife (in the separation phase) Dinah (Idina Menzel), and his mistress Julia (Julia Fox), the Jewish businessman seems to be constantly at the bottom and digging. His last hope is the last McGuffin: a piece of rock encrusted by multicoloured opals that we see at the film's beginning has come out of a mine in Ethiopia.


Taken by business partner Demany (LaKeith Stanfield), basketball star Kevin Garnett (himself) is enchanted by the jewel and asks to take it to the Celtics game as an amulet; he leaves his NBA championship ring in escrow. Howard has no doubts: he pawns the ring and bets everything on the play where Garnett will act.


When Howard expects to receive the ring back, to take it to the alleged millionaire auction, the athlete does not return. With this, the jeweller can not recover the ring, and the reprisals of Arno's collectors are becoming increasingly personal and violent.


The result is the characteristic humour of the Safdies brothers, who direct the film. Although captivating, it is not an aesthetic that provokes laughter but only anguish. If the end was more or less expected, it still seems uncut.



 
 
 

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