Stealing Cars (2015) User Reviews

Could Have Been So Good

[silvio-mitsubishi · 7/10 · 30 March 2019]

The twist and the action in the last ten or fifteen minutes give a taste of how truly memorable this film could have been, but the eighty minutes of set-up show how lazy and delusional filmmakers can be. There is an overt reference to A Bronx Tale but far too much harking back to The Breakfast Club and similar, with unlikeable characters in unrealistic situations. Billy would never have got away with the rambling smart-arse speechmaking on show here, but would have been told to sit down and STFU (at best) or, more likely, punched in the mouth.

The distinction between the gangs is underplayed unless it is critical to a plot point, at which time it feels forced. The kindly sheriff, damaged nurse and bullying guard stereotypes rely on one actor in each role, and we are expected to believe they work almost around the clock and with no support. There is no suggestion that education extends beyond reading one book, sport involves more than knocking one character to the ground repeatedly, or rehabilitation extends beyond polishing the boss's car. The annual building project is as believable as finding Elvis on the moon.

Most of the film is made up of red herrings and blind alleys, with very occasional flashbacks that confuse rather than illuminate. Even after seeing the twist I am not convinced I fully understood what they were trying to say but by that stage I was making up my own story.

The end is forced melodrama but need not have been. There was a great film here struggling to get out.

A couple leaps in logic keep it from being more powerful.

[Sergeant_Tibbs · 6/10 · 8 July 2015]

Winner of the new Zeitgeist Award at the L.A. Film Festival, Stealing Cars feels like if Starred Up wanted to be Cool Hand Luke featuring Antoine-Olivier Pilon from Mommy. Both Stealing Cars and Mommy think their lead is hilarious, tragic and charming, and many of the latter's fans agree, but I found Pilon unbearable. Not to reel Xavier Dolan's film into this criticism, but both these films hinge on their protagonists. Swap Pilon for Emory Cohen for Stealing Cars and it's a very quick reminder why most consider The Place Beyond The Pines troublesome in its third act. I'm concerned that Cohen may be too good at playing an irritating young criminal. I just like seeing him get punched.

The film opens with a clear homage to Cool Hand. Emory Cohen's Billy steals a car, and the next scene we're in a Burnville Camp For Boys, an analogy for life's hardships. The film details his relationships with his fellow inmates, the guards, various staff, warden, police, a female nurse at the facility, and his parents in any jumbled order that resembles a plot towards his potential rehabilitation. He makes enemies, earns sympathies, leads teams, impresses at the least likely times, and so on. It's a script that's been gestating since the mid-90s and it's hard to ignore that it may have grown too kind to its protagonist. Billy mouths off to every authority figure and escapes three times without serious repercussions.

Set aside its clumsy character study and Stealing Cars does have good intentions in its portrayal of problematic detention facilities. Punishment only breeds deeper resentment and a desire to escape. It'd hit harder if its logic was as gritty as its style, though it's not quite as rough as Starred Up. In one scene, Billy has memorized an entire passage of Fahrenheit 451 because of his photographic memory, and while characters are just as surprised as us, it feels like a step into the extraordinary that's just tacked on. The warden makes cleaning his car a dream job for the inmates, as if that's not asking for trouble. He's then also astonished Billy knows Johnny Cash. Fortunately, these unconvincing examples are executed with such earnestness by director Bradley Kaplan that it doesn't toe the line into nausea, and instead establishes this as merely the tone of the film.

It's assisted by a set of familiar faces in the supporting adult cast. Paul Sparks is barely recognizable compared to his sniggering Boardwalk Empire role and a bright spark in the film as a drill sergeant-esque guard. William H. Macy shows his face briefly as Billy's father and adds his screen presence to the film's production value. Felicity Huffman has an emotional one-scene wonder as his mother that absolutely begs for more time with her character. Mike Epps also shines in his brief screen time. John Leguizamo is solid, but suffers the most from the aforementioned flaws in the writing. It's hard to deny that Emory Cohen has the confidence for this role and his charisma isn't necessarily misguided, he does contribute to the spirit of the film, it's perhaps just a matter of taste. Stealing Cars probably wasn't the wisest choice for L.A. Film Festival's award, but I'm sure there were worse on the slate.

6/10

Read more @ The Awards Circuit (http://www.awardscircuit.com/)

Another Cool Hand

[bkoganbing · 6/10 · 18 April 2016]

Some sluggish direction and pacing rob Stealing Cars of being a really great film about juvenile crime and incarceration. Stealing Cars is in a tradition of films like this that go back to James Cagney's Mayor In Hell.

Emory Cohen is our brilliant protagonist in the sense of one high IQ. Yet he's in the Bernwood Correctional Facility for a tragic mistake that has made him forgot to care about anything. His role model seems to be Paul Newman from Cool Hand Luke.

Besides Cohen the acting honors go to John Leguizamo as the warden of the place. Is scene with Cohen where Cohen finally breaks down and we learn the reason for his cynicism is brilliant. But we also learn that Leguizamo has his own agenda and it's not a healthy one.

I'm agreeing with another reviewer that the characters besides these two have no real depth as written and no great direction to make them come to life. Still Stealings Cars is a worthwhile film to watch.

Here we go again!

[BudoSenpai · 17 March 2021]

Another story of a white boy who has for the most part everything going for him and loses his father in a car accident due to his own negligence. So what happens next? You guessed it, he feels sorry for himself and starts to act out! Now he hates everyone, even his own mother. He's sent to correctional facility for boys and carries with him a sarcastic attitude, etc. etc.

not much car stealin

[ops-52535 · 6/10 · 21 March 2019]

This is a hard nut to chew when not knowing if its rotten or good. its about juvenile dilligents in a correction camp somewhere in usa. its all from murder,rape to petty crimes, mingled up in a one fence ,one barb wire one gate joint, that seems rather easy to bail out from. the main of the story, are an unfortunate boy that once did a great mistake when driving a car, and as an act of redemtion to himself he starts to steal cars to runaway from his wrong doings. unfortunately his ad/hd demeanors and vocal talents ,gives him more bash of thrash to his record.

productionwise i feel the story shows signs of incoherence, the cams are at times too close up, and the editing seems on overdrive. this is maybe, that its a cliche thing, that weve all seen before in other settings and other actors. the acting are good enough, how it reflects the true world,i shall not say.

youll need patience and maybe see it through a couple of times to really enjoy, just recommendable the grumpy old man says.

Could be tighter

[kosmasp · 7/10 · 2 September 2016]

Not the space it plays in, but the script that is. It's a really decent effort into crime territory, though mostly played in a "restricted" area (to put it mildly). If you know more about the story, than you know what I mean, otherwise be surprised if you want to, where this is going (with or without stolen cars).

This is definitely not another Gone in 60 seconds, it's much more of a drama and the stellar cast gives it more than a bit of gravitas. I'd argue they were drawn into the project by a very neat script. If all translated onto the screen, is something you have to decide for yourself. Does it have faults and flaws? The answer is yes, so do the characters in it, but that's what could be described as the extra something that keeps this ... driving

That title...

[christhjian · 4/10 · 30 March 2016]

This is one of those films which didn't have too much cash to splash but tries to counter that with meaningful story and perhaps a little more alternative approach. Stealing Cars focuses around a teenage boy who basically has emotionally fallen apart, but rather than being sad and isolated starts to "rebel" and does some no good.

And the film does quite a few things right, actually. It keeps the viewers guessing what's going on until the very end and has some fine twists there. But it is almost good and really misses hardly making the experience feel logical and gives the overall impression of cutting too many corners.

Let's start with the title - it has almost nothing to do with car stealing, so anyone hoping to see some sort of Gone in 60 Seconds style movie will be vastly disappointed. Sometimes, of course, this kind of title with hidden meaning is completely fine, but on this certain instance, this almost feels like lying. Instead, this is essentially a prison movie, which takes place in the juvy. We see our main character Billy gaining the trust and respect of others thanks to his rather charismatic behavior and finally revealing us the key problem of his mindset.

The problem there is that the writing really doesn't support that. Billy is made so incredibly obnoxious and stupid (in many ways) that it gets almost impossible to take him seriously. He often gives some really weird speeches, disobeys the orders and gets the whole collective in trouble. Still none of his comrades seemed to care and started to look him up, if anything else. The good side of the character was that he really didn't care what would come to him. He was literally fearless and this gave him a little credibility, but all in all was still rather unbelievable.

Even though it seemingly was more of an alternative film, it still contains many clichés - the outcast, the sick kid, who befriends Billy, hot nurse who became a love interest for Billy and finally - surprise, surprise - a rather cruel warden. OK, he wasn't too mean, like wardens in many similar movies, but the sense of this heavily clichéd character was definitely present. And Billy himself was also a good talented kid with exceptional memory gone bad. The film used some non linear storytelling, but it only focused around the key point and could have told us a little more background.

All the supporting characters were somehow dull and didn't have much depth. It was almost as if they just were there and even if they seemed to have a purpose, most of them never really opened up and didn't add much to the plot.

Ultimately Stealing Cars is not a great film. On a positive note this is somewhat psychological trip which dwells into a confused mind, has few nice twists and isn't all that predictable. I understand what the producers wanted to show us, but the way it was constructed wasn't particularly convincing. Main problems are dull side characters and a monotonous plot which is hard to take seriously because of the oddly acting Billy.

And one last time - that title....

See it for Emory Cohen

[dossj-19229 · 6/10 · 17 August 2021]

I watched this for Emory Cohen and I wasn't disappointed, he's phenomenal in it. The movie itself though is another story. Well acted with a host of stars all doing their best, it's biggest problem is that it's still just Hollywood's take on boys in reform school. There are way too many clichés, the over the top mean guard, the warden who wants to help, a weakling for him to be a hero for, the other gang members he'll win over, none of it is very believable. In fact some of the scenes are straight out of fantasyland. Still it's an engaging movie because he is front and center and he's a wonderful actor. If you are a fan of his, this is a must watch.

What happened???

[PacmanKO88 · 4/10 · 25 June 2021]

After a promising first half, the second half felt like the writer and/or director quit and was replaced by someone who filled the movie with clichés in what amounted to a mess filled with continuity issues.

Emory Cohen was great and carried this movie. I watched this movie for him and he did not disappoint.

The cop's actions in the final act? C'mon man.....

Powerful performances, interesting characters.

[genesisoriana · 7/10 · 3 March 2017]

I highly recommend this movie. It's one of those movies that worth watching. Good performances. The main character, a really clever and complex boy will make you more and more interested. The performance by Emory Cohen is very powerful. I have to say that this movie caught me since the beginning. If you feel a particular interest in independent films, you should watch this one.

Easy rider

[frukuk · 3/10 · 14 April 2019]

A pleasant (sic) enough drive along life's highway, but things just seemed to work out a little too well for Billy. It never felt like there were real hurdles in his way, that anything was really a battle to overcome.

All in all -- and despite the brutality (which was not unexpected) -- this just didn't feel real.

An example of why I say big budget movies aren't as good as independent ones. This should get more of an audience than it will

[cosmo_tiger · 8/10 · 5 April 2016]

"Tomorrow doesn't have to be yesterday." Billy Wyatt (Cohen) is rebelling against everything. When he finally gets caught and arrested he takes his attitude with him. Little by little he finds out his attitude has to change. With the help of warden De La Cruz (Leguizamo) Billy begins to realize why and how to change. This is a movie that was a total surprise. It started off OK but the more I watched the more I enjoyed it, and by the end it became a movie that I want to tell everyone to watch. The acting is great and the movie just feels real. The movie is emotional and moving without really trying to be and really punches you in the gut with the ending, in a good way. There really isn't a whole lot I can talk about without giving something away because it really builds on the emotion throughout and the pay off is more than worth it. All I will say is that this is what movies should be and I highly recommend. Overall, one of the reasons why I say the big budget movies are not as good as the independent ones. This should get more of an audience than it will. I give this an A.

OK Movie, but could have been better

[ascendant01 · 6/10 · 5 February 2017]

--- The movie is well worth watching. I am simply explaining what bothered me and how it could have been made better in my opinion. --- I like continuity in movies and also a sense of closure. Nothing makes me lose feeling for a movie, that makes me loose that feeling of the suspension of reality that I need than a lack of closure and that is where I think this movie lost points in my opinion. Even so it was still a good 6/10, but it could have been a 7. --- They spend a good deal of time developing certain characters in the movie, the weak but sensitive boy, the strong and silent "Poeta" boy, and to a lesser degree the leaders of the white gang and the leader of the black gang. However the movie spins off to the ending and never gives us any closure on what happens to these characters. Even with Billy we only sort of get a idea of his over coming his issues as he steals yet another car and rushes a friend to the hospital. But that's it, exit stage right? I want to know what happened to the weak kid that was dropped at the hospital and the "Poeta". Time was spent building their characters just to drop them suddenly. Not an efficient use of screen time in my opinion. In the end we see what appears to be a prison riot kick off, the most violent guard turn into a cream puff and the weak kid dropped at a hospital, but that's it. The movie ends and we never hear if the weak kid lived or the riot was quelled, or the violent guard and the "warden" get what should be coming to them.

Good Intentions

[kirbylee70-599-526179 · 5/10 · 9 May 2016]

I enjoyed the concept behind this movie and wished it well when I began watching it. A restless youth trying to find a way to blend into society? Sounded like a good idea to me, a sort of REBEL WITHOUT A CAUSE for a new decade. The end result left me wishing for something better fitting the theme.

Billy Wyatt (Emory Cohen) is a trouble youth sent to the Bernville Camp for Boys for stealing cars. Here is where things begin to go south. The camp begins to fill out with clichés from nearly every prison movie ever seen. We have the sadistic guard who takes no guff and deals out corporal punishment whenever he can. We have various groups in the camp who keep themselves sorted from one another. And we have an anti-hero who walks around with a smart mouth and becomes friends with no group but with a single other outsider.

As the film progresses the warden of the facility, Montgomery De La Cruz (John Leguizamo), attempts to break down the walls that Billy has built around himself in an attempt to help him. At least at times it seems that way. At other times the character seems to revert back to being that stereotypical warden character seen in so many films. There is no fault in Leguizamo on this matter but in the writing of the character. One moment he seems threatening and the next sympathetic.

As Billy deals with his time in the camp in various ways. He breaks out on at least three separate occasions. Somehow that feels like the security in this place needs work but no one ever addresses that. He begins what could be a romantic connection to the camp nurse (Heather Lind), an employee that seems to be there for battling her own demons rather than to help young people battling theirs. Lastly he breaks down the barriers between different factions in the camp to get them to unite in a project taking on the role of leader. These separate issues never seem to quite gel before the end of the film though each of them are answered.

What really does harm to the movie is the low end quality of the whole film. The look is less polished than most and not done so from an artistic standpoint at least that I could tell. The performances are just so so and the main character of Billy as portrayed by Cohen lacks any reason for anyone to feel sympathy for him, even when we learn what sent him over the edge. So much time is spent making him seem like such a jerk that by the time we should feel something for him we can't care. His quips and attempts at being a smart aleck are lame at best and unbelievable for the most part.

In the end you want to care for Billy and the rest of the boys in the camp but the movie feels more like an afterschool special than a feature film. I'm certain there are some for whom this film will fulfill the needs they have and the standards that they set but for me I found it lacking. It's supposed to be based on a true story but my guess is the real story was far more interesting than its portrayed here.

Good acting bad plot

[hughchilles · 2/10 · 19 September 2023]

Curious to see where the main actor goes, he's got that jake Gyllenhaal/heath ledger charm that's interesting. Unfortunately it's one of those movies where the guy starts off as arrogant in prison and grows to get respect of inmates and wardens unfortunately in this movie he never becomes humble or altruistic, he remains an asshole for most of the movie and i didn't feel it earned any of the heartfelt moments it shot for. It results in a deeply frustrating viewing experience and you kind of side with the other inmates hoping for his downfall. I'm happy for small budget films getting off the ground but even with that handicap I didn't enjoy this at all, I'd rather watch a sister act/green mile marathon, would hit all the same notes this one fumbled.

Intense film with message and strong performances

[rcarter-88086 · 9/10 · 4 April 2016]

Saw this April 1 and there is no April Fools' about the content and acting of this intense film. There are too many young people dropped into badly regulated programs for young offenders. This film delves into that world and with a startlingly strong performance from Emory Cohen and strong performances from other more prominent actors, such as John Leguizamo, Mike Epps, Felicity Huffman, Heather Lind and William H. Macy provide a view of this dark world and how it fails our young. Especially those with spirit and talent. Other actors who shine in this film are Leopold Manswell, Jeff Lima and Paul Sparks.

Hope you get a chance to see it and thanks to the entire production group, writers and crew for getting it made and to Director Bradley Kaplan for bringing it to life.

facing your past through a teenager in prison

[hannahjudovits · 10/10 · 6 October 2016]

Brilliant cast with Emory Cohen, John Leguizamo, Mike Epps, William H. Macy, Felicity Huffman, and Heather Lind, who all play key roles in bringing Stealing Cars to life. The plot follows Billy an underrated intelligent teenage boy and his life at the Bernville Camp For Boys. Throughout the film, Billy is faced with a series of challenges such as his ability to lead and his accept his past and himself. The film illuminates the lifestyle that teenagers are exposed to when living in a corrupt juvenile prison system and how support networks can be very crucial. Although Stealing Cars does not have much to do with the title, the film illustrates something deeper and more meaningful that is powerfully illustrated and beautifully portrayed through the sophistication of Billy's mind. The production itself is outstanding as each location contributes to setting the mood for the audience. In addition the chemistry between Cohen and his fellow co-stars demonstrate passion and intensity that is very present throughout the film.

A little gem of a movie with an amazing cast!!!

[tatercarter · 10/10 · 21 April 2017]

Wow!!! I just watched this amazing little gen of a movie on Amazon, and I really hope more people get a chance to see it soon! Well worth it if you do! The ensemble cast is truly something special: starting with rising star Emory Cohen (Brooklyn, The OA) and the always incredible John Leguizamo (Carlito's Way, Moulin Rouge, Bloodline). William H. Macy (Fargo, Shameless) and Felicity Huffman (Transamerica, American Crime), who are real life husband and wife, play the parents in the movie, which I thought was super cool and authentic. The supporting cast features the stunning and believable Heather Lind (Turn) and the very talented Paul Sparks (Mud, and both also from Boardwalk Empire), along with quick-witted funnyman Mike Epps (The Hangover, Next Friday) in a pleasantly surprising, more "serious," but still charming, role. The "younger" cast members are all excellent too (including Grace Van Patten, Al Calderon, Jeff Lima and Leopold Manswell, all of whom are expertly cast)! The story revolves around a teenager, Billy Wyatt (played by Emory Cohen), who is thrust into what turns out to be a Shawshank-type correctional facility for wayward youths. I don't want to give away any spoilers, but suffice it to say the story is inspired by true events and is very gripping and moving from start to finish. The performances are stellar, the cinematography is intimate, and the writers and director really tell an interesting, engaging, thought-provoking and heartfelt story! Highly recommended!

Memorable

[audreymenton · 9/10 · 12 November 2018]

This is a great movie with a simple story but told in an imaginative way. Emory Cohen is brilliant as Billy and definitely an actor worthy of more lead roles. He simply keeps your attention for the entire movie and makes you feel empathy for his character and the other boys in the 'camp'. Big budget films can sometimes ruin a good story and look over produced. This film is one that you can watch repeatedly and get something new from it every time. I highly recommend this film.

Excellent movie

[rt-59493 · 10/10 · 18 April 2016]

This movie is well worth watching. I am shocked at the low rating being given. The acting is completely genuine. The Story is gripping and important. I can only put the low reviews down to a jaded public. I suppose there have been too many movies made about this subject, but at least it is real life. And it is not overly dramatic. Billy's talk may be over the heads of some viewers, but he is actually extremely intelligent and often quoting from books. It lends real interest to the movie, and is effective at showcasing his thoughts.

Yes, the supporting cast are a cast of familiar faces, however they are all good actors and contribute to the film.

If you go for fantasy and sci-fi as most of the population does, I suppose this is only a 5.4 in that world. But in the world of reality it merits a 10.

WALLS ARE NOT BARRIERS BUT FOUNDATIONS FOR CASTLES.

[nogodnomasters · 8/10 · 22 April 2018]

William Wyatt (Emory Cohen) is a gifted high school kid with a photographic memory. He steals cars, deals in mushrooms, and likes to get high. His antics land him in the Bernville Camp for Boys, a juvenile boot camp. Here we have the typical sadistic guard (Paul Sparks); the director (John Leguizamo) who turns a blind eye to what is happening in his camp; and a nurse (Heather Lind) with Mr. Jones still on her back.

William's gift allows him to make friends in all the cliques as he tries to save Nathan (Al Calderon) a kid who is seriously ill and not getting the proper medical attention he needs.

The story is "inspired by true events" and is one of a number of juvenile camp films out there, all with basically the same prison plot line, i.e. new person, makes, friends, evil system, revolt. My favorite ones have Pamela Grier in them, and their was an interesting one with a ghost. This one is of a more serious nature and is made watchable because of the likeable unpredictable bad boy character of Billy Wyatt.

I think they could have come up with a better title. I would avoid IMDB on this film as they have posted a plot spoiler review.

Guide: F-word. No sex or nudity. Fighting violence.

Genius is outlaw on planet Earth

[transoptical · 21 May 2016]

The cinematography is a bit uninspired. However, it's nice to see heroism attached to intelligence rather than revenge for a change. How many films tackle the subject of human genius up against a world of mediocrity? How many films attempt to describe the need for and the requirements for- leadership? Basically humanity is obviously too stupid to solve its problems. That's why they are still with us after 10,000 years. Evidently we are slow learners. Part of the reason for this is that we have damned few cultural/media heroes who possess actual genius. And part of the reason for that state of affairs is Hollywood's reluctance to portray genius as desirable, effective or even romantic. The Dogme 95 film movement created a new standard of honesty in cinema. We now desperately need a film movement that wittingly makes us smarter...a Didactic Cinema. The need is certainly there.