
In TRIPLE NINE, a crew of dirty cops is blackmailed by the Russian mob to execute a virtually impossible heist and the only way to pull it off is to manufacture a 999, police code for "officer down." Their plan is turned upside down when the unsuspecting rookie they set up to die foils the attack, triggering a breakneck action-packed finale tangled with double-crosses, greed and revenge. (C) Open Road Films
About Triple 9
Artist : John Hillcoat, Matt CookAs : Gal Gadot, Teresa Palmer, Kate Winslet
Title : Triple 9 Cinemar
Release date : 2016-02-26
Movie Code : 1712261
Duration : 115
Category : Drama
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There are a lot of great actors here and surprisingly good action scenes and a tense ending, all of which make "Triple 9" one of the more enjoyable urban crime dramas in recent memory.

If you're in the right frame of mind for a lurid, blood-soaked B-movie with an A-list cast, Triple 9 is just the ticket.

Most parties concerned maintain their grim countenances, their characters struggling to find the sweet spot between honor and greed, between doing the right thing and doing the absolute worst.

"Triple 9" doesn't exactly transcend its genre, but it definitely exploits it for all it's worth.

The most impressive thing about Triple 9 is that it somehow manages to be both predictable and incoherent at the same time. Well, that and the fact that it manages to make half a dozen good actors look really lost.

Although "Triple 9" was most likely just a paycheck film for all involved, its go-for-the-gut efficiency can't be denied.

The uneven thing [here] is John Hillcoat's direction: a tense, sustained journey through an apartment while lined up behind a bulletproof shield alternating with indulgent zooms and cuts depicting local color.

Given the movie's bloody stew of greed and sadism, its unbalanced frames and ear-scraping soundscape, its moral tidiness can bring a smile to your otherwise appalled face.

[Hillcoat is] an expert in creating and sustaining gut-twisting tension. Good qualities all, but used here in the service of a story that is truly unappetizing.

There's a blue-chip cast running the gamut from A (Casey Affleck) to W (Kate Winslet) and terrific action sequences in Triple 9 - but in the end, this relentlessly nihilistic crime-caper thriller adds up to less than the sum of its impressive parts.

Hillcoat directs with a sense of immediacy and grimy realism, bringing the audience into the shootouts and bloodshed on the streets. Atlanta becomes another war zone for the men who have seen war, battling an enemy of a different race and culture.

Triple 9 is no Reservoir Dogs, but it is a twisty, terrific ride. And Kate Winslet has a blast with the Russian accent, the wig, the attitude.

"Triple 9" is a superbly crafted film, the sort of big-screen roller coaster I admire even if its plot falters.

If there's a police code it merits, it's a "10-22": "Disregard."

Though compelling in the acting and cinematography, Triple 9's plot is by the numbers and about nothing.

A modern-day heist thriller of unusually grim, coiled intensity .

Hillcoat brings stray moments of style and surprise to "Triple 9" but not nearly enough to save it; for every twist you don't see coming, there are five you probably will.

Matt Cook's maiden feature-length screenplay-something about dirty Atlanta cops being blackmailed by the Russian Jewish mafia-is so murky it leaves the whole cast looking tentative, if not defensive.

Triple 9 races past in a blur of crime and action scenes, with plenty of violence and the odd spot of gallows humour to keep things interesting.

Hillcoat's approach is to craft a pulse-pounding experience that employs a mixture of conventional footage and hand-held work. There's an immediacy to the most gripping scenes.

The slam-bang opening bank robbery and chase channels the best of Michael Mann from his Heat days. But Triple 9 soon bleeds out and becomes a perfunctory hodgepodge of other crime movies.

A miserable, misguided police drama that almost seems to hate the police.

"Triple 9" feels more like a collection of good scenes than a novel, propulsive whole. Viewers are apt to be entertained by the film's visceral pulp pleasures, but left apathetic when it comes to its instantly forgettable genre cliches.

It's hard to tell how much time has passed between scenes, or just why, as the twists come, the characters would suddenly turn so dumb.

#AllLivesMatter? Not here. Hillcoat wants us to admit the truth behind the robbers' callous calculation: Some people are worth more than others.

Without much investment, one just sits back with increasing detachment and bemused curiosity as to where and on whom the next shoe will drop.

Triple 9 is like a David Ayer film on steroids, which is to say it's like Training Day if most of the characters were as morally compromised as Denzel Washington's.

Triple 9 imagines itself a sprawling, nihilistic epic, and it floats along for a while on the shoulders of its prestige filmmaking and cast, but ultimately the storytelling just isn't up to the task.

Tight, taut and brilliantly structured.

Cops prowl darkened mazes, looking for perps they probably couldn't see even if they found them.

It's got everything except a real script. Or director.

"Triple 9" is as heartless as the people who infest it-the exception being a decent cop, Chris Allen, played by Casey Affleck-and mannered to the point of self-parody.

John Hillcoat packs a binge watch of characters and incidents into this corrupt-cop thriller.

One of those productions in which much of the creative energy has been funneled into gaudily inventive displays of violence.

The action is bracing, the twists sprightly, but the sum of its parts sits heavy, like a meal that won't digest.
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