
On August 22, Hulu premiered the drama-comedy heist thriller Eenie Meanie, which was the debut feature film by director and screenwriter Sean Simmons. What’s wrong with his creation — is described in the review below.
“Eenie Meanie”
Genre heist thriller, drama, comedy
Director Sean Simmons
Starring Samara Weaving, Karl Glusman, Steve Zahn, Andy Garcia, Randall Park, Marshon Lynch, Mike O’Malley, Chris Bauer
Premiere Hulu
Year of release 2025
Website IMDb
A tough driver named Edie, nicknamed Eenie Meanie, once helped her accomplices rob more than one bank, but eventually decided to give up her criminal past. One day, when she visits her ex-boyfriend John to tell him the news of her pregnancy, she tries to help him, as the poor man was in a very difficult situation. This leads to the fact that Edie is forced to agree to a “last job”, namely — steal $3 million from a casino. Otherwise, John will be in trouble.
In 2017, the crime action thriller “Baby Driver” was released, with Kevin Spacey still in the cast, another story about a professional driver who, let’s just say, served criminals. Edgar Wright’s film became a box office and critical hit; instead, they decided to release “Eenie Meanie” immediately on streaming, but it would have been better if this film hadn’t happened at all. After all, it can be called the complete antithesis of the characterization of “driving” — everything here is so sad, frail and mournful.
Although the surprisingly cheerful beginning still sets you up for a daring drive.
No sooner have we had a chance to properly admire the beautiful Weaving, than she gets involved in a serious showdown, and now, together with a completely naked Karl Glusman, she is forced to flee from the thugs. While the latter is pulling on a pair of glamorous leopard underpants he found on the spot, the warlike blonde is no doubt grabbing a gun. A few moments later, and bam! — one of the episodic characters is cut down as quickly as he appeared.
But soon, the initial excitement gives way to boring, long-winded dialogues, and there are so many of them that it would be appropriate to call AniBeni a dialog film. The trouble is that Sean Simmons — is clearly not Tarantino, and accordingly, the endless chatter he offers does not captivate at all. Moreover, enduring this pseudo-dramatic nonsense becomes an even greater challenge.
TThe fact that Glusman’s character is a complete idiot doesn’t add to the reason to root for the sufferers. Only the protagonist’s cheating pregnancy makes us believe that for some reason she continues to fool around with this idiot over and over again.And Edie herself doesn’t evoke much empathy – Samara Weaving’s cold, detached performance seems to symbolize the indifference of everyone present to what’s happening on the screen.
As for the action, heist component — we have a movie about a heist, as if it were a declared movie about a heist — this component takes up 25 percent of the running time. And even those miserable crumbs are not impressive at all. Two unfortunate mediocre chases flash before the drowsy viewer, and this is the level of the later filmography Bruce Willis.
As for the robbery itself, the filmmakers definitely didn’t bother with it. The script was enough to simply put $3 million dollars on a platter — come and get it, good people. We will gladly provide you with transportation for your escape.
Given the quantitatively (and ultimately qualitatively) pale action, a logical question arises: what exactly was the solid $50 million budget spent on, if the vast majority of scenes are just talking about nothing? It’s strange, but that’s all it is.
If you want to watch something dynamic about robberies, and even with chases — it’s better to watch the “Fast Five” (2011), or, say, “The Italian Job” (2003). If you want long but fascinating dialogues in a crime setting, early Tarantino is at your service. If you want to admire the big, beautiful eyes of Samara Weaving, who spoils her filmography for some reason all sorts of junk, but for the movie to be sane, it would be better to pay attention to something from the past years, for example, “Ready or Not” (2019).
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