‘Crime Story’ Review: Two Oscar Winners, Richard Dreyfuss and Mira Sorvino, but No Cigar
.” Playing a semi-estranged father and daughter thrown into crisis mode over a few hours’ course following a home robbery, the stars are not exactly at their best here.’ film has the feel of an enterprise whose script wasn’t quite ready for “action!”: Half the dialogue sounds haplessly improvised, with sporadic voiceover narration coming off as an equally forlorn attempt to belatedly cohere a half-baked whole.
It is at that point that the story proper begins, with Ben shown tending senile wife Nan . Despite her obvious helplessness, and a suspicious van parked outside, he leaves her alone to visit the restaurant/bar he’s operated since going “legit.” After barking orders at longtime flunky Tommy , he returns home. In his absence, the place has been ransacked, his hidden safe of loot emptied, though at least Nan seems to be fine.
Soon chasing this trail of violence is Sorvino as Ben’s daughter Nicki aka Nick, a homicide-investigative cop now for some reason providing chief security for one Congressman Billings on the re-election campaign trail. She’s already solicited their erstwhile deadbeat dad’s help in doing something for the ne’er-do-well other daughter he’s fully estranged from , whose own terminal illness will shortly orphan the grandsons he refuses to acknowledge.
Sorvino, in particular, seems bent on infusing the flimsy script with conviction by simply bursting into tears at every opportunity — a bizarre choice, since Nicki is supposed to be a tough cookie capable of some pretty coldblooded decisions. Dreyfuss is just miscast, his attempts at grounding Ben further undermined by that awful voiceover patter, which often runs toward meaningless drivel like “It’s so good to be doing something” and “Everybody chooses.
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