On a tip from a catering coworker, Emily stumbles on a “dummy shopper” gig, which involves buying up high-end electronics and luxury cars with fake credit cards, for resale.
A THIEF IN THE NIGHT YOUTUBE FULL
The desperate Emily is not about to pay these kinds of life-destroying dues, and when lectured by Alice about how much worse the field was in her day (when Alice was “the only woman in a room full of men”), Emily stomps out, delivering the parting shot: “If you want to tell me what to do, put me on the … payroll.” Emily (Aubrey Plaza), in “Emily the Criminal.” (Roadside Attractions/Universal Pictures) Crime Pays Liz arranges an interview for Emily with her boss, the graphic design firm’s president, Alice (Gina Gershon), for a position, which turns out to be an unpaid, full-time internship with no benefits. She’s headed to Portugal on an all-expenses-paid work trip, whereas Emily can’t afford her rent, much less buy paint for painting.
However, her life is made exponentially worse by her collegiate DUI criminal record, and her defensive attitude about having to talk about that little situation-the drunk driving-to potential employers.Įventually meeting up with Liz, her college bestie (Megalyn Echikunwoke) at a trendy bar, Emily offhandedly confesses, “I need a job, a good job.” Liz is well situated. Emily (Aubrey Plaza) buying a luxury vehicle she needs to drive away in eight minutes, before the sellers figure out the credit card is fake, in “Emily the Criminal.” (Roadside Attractions/Universal Pictures) Her existence is every artist’s worst nightmare. She’s from New Jersey and she punches the clock, delivering work lunches to downtown corporations and sketching portraits in her car between shifts. The feature film debut of writer-director John Patton Ford (shot on a low budget over three weeks during the pandemic), “Emily the Criminal” tracks art-school grad Emily (Aubrey Plaza). It’s got some cocaine partying in club bathroom stalls, some aloof Korean roommates, and involves a racially cacophonous band of citizens and undocumented workers living lives of varying degrees of financial precarity. “Emily” turns out to be more of a dark, dreary, depressing tale, located in and around catering kitchens and parking lots. Emily (Aubrey Plaza), in “Emily the Criminal.” (Roadside Attractions/Universal Pictures) Dreary but Important Social Commentary “Thelma & Louise” was a fun movie, though. When later financially backed into a corner, she tries it on for size and discovers the method fits her like a glove. (Brad Pitt) demo his armed-robbery pitch in a motel room.
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“Emily” is reminiscent of “Thelma & Louise.” Thelma (Geena Davis), a mousy woman suffocated by a lousy husband, learns how to rob people at gunpoint after watching J.D. The title rolls off the tongue amusingly, the way Gilda Radner’s “Saturday Night Live” character Emily Litella did.
“Emily the Criminal” sounded like an enjoyable romp.
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