The Vault

The Vault

The pages of the screenplay remind me of the nightmare that we’ve seen in so many movies, and almost every Independent venture in the UK. Stranded swindlers searching for a pitch EP trying to find a ‘sweetheart borrow. Pitching an idea isn’t easy and kudos to him for this hilarious aberration.

Cosmic Connections is a lovely team effort. Moderate luck obtained through chunk of the population, educated, affluent individuals aged between 4-12, doing random acts that normally evoke sarcasm, can imagine prepping for England’s next World Cup… and winning. It is scepticism at its best.

This time, our twenty somethings protagonist engages in the heist of a lifetime but not without reason. He has his production centre to look after and things needed to be taken from one location to another. Freddie Highmore is a British actor most famous for his role in “A Good Doctor”. Apparently, working with Weezer made him a fan. It is worth watching. It only mixes our generation with sweet expectancies, lots of melodramas and ABBA songs. Yup, ABBA. Lots of them. Depending on when we started watching Eurovision, mother’s boy swayed left and right more than absolutely necessary.

In the midst of thousands of soccer fans brawling outside the compound and security forces tightening their grip, the crew has barely a few moments to seize the once-in-a-lifetime opportunity.

Good backing is provided by Astrid Berges-Frisbey and good ole Liam Cunningham, who is pretty much in the same character here as in Game of Thrones. The man knows how to sell what in movies is called exposition, as if his life depended on it.

Naturally there’s a hacker with a big bushy beard in a tee-shirt with a baseball cap on backwards, because those are the rules. (If you’re so clueless as to call the fake keyboard saboteurs ignorant, then may God help you). Oh, and the whole thing looks like it was edited by Edward Scissorhands under the influence of a half dozen Red Bulls.

I am surprised this was not delivered by Jerry Bruckheimer and directed by Michael Bay as The Vault seems to be that slick and fast paced.

Even with the persistent feeling of deja vu and the editing style taken straight out of ADHD case studies, this is a lot of fun which makes you stay glued to the screen.

If there is a silver lining, it is that the mandatory celebratory passages in the end do not have The Clash’s ‘London Calling’, perhaps the most cliched of songs used in action movie trailers set in who knows what.

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