Written by Sarah Bergin
Ben Affleck and Matt Damon have a long history together—most notably known for the Oscar-winning Good Will Hunting (1997). As screenwriters, producers and actors, they have been busy at work, collaborating on projects throughout the past few decades. So, it’s no surprise they’ve reunited once again for The Rip.
Affleck and Damon seem to have an Adam Sandler approach to their films (I want to make a movie so I can hang out with my friends!), but their chemistry is undeniable. As the producers and lead characters, they use their real-life friendship to complement the film. Written and directed by Joe Carnahan, alongside story collaborator Michael McGrale, the true story is enhanced by the on-screen and off-screen friendship, bringing more reality to Affleck and Damon’s characters.
The thriller immediately opens with a tense reaction from Lieutenant Dave Dumars (Damon) after Captain Jackie Velez (Lina Esco) of the police department’s murder. It impacts the tight-knit force and the rest of the department, including the Tactical Narcotics Team (TNT), gets questioned about the murder. This includes Detectives Mike Ro (Steven Yeun), Numa Baptiste (Teyana Taylor) and Lolo Salazar (Catalina Sandino Moreno). Dumars confides in Detective Sergeant J.D. Byrne (Affleck) and proceeds to tell the team about a tip. There is a large amount of money linked to a drug deal, and they must search the house it is in. Upon arriving at Desiree Molina’s (Sasha Calle) family-owned house, they all set out to find the stash, unaware of the true amount of money in the home.
It doesn’t take long for the film to turn into Grand Theft Auto, showing off cool cars, motorcycles and even tanks, playing into the “dope cop” persona that the TNT refers to themselves as. Rather than helping the audience empathize with the characters, seeing them off-duty has the opposite effect. It seems aimless and foolish to watch a way-too-long sequence of the characters entertaining themselves.
Additionally, the action sequences feel forced and juvenile, in the way that a teenage boy might punch his wall when he’s upset. Many of them are instigated as a one v. one fighst between characters that are unable to effectively communicate—which is ultimately eyeroll inducing. The intense, substantial action scenes are more exciting to watch, but last too long, making the audience fidget in their seats.
Along with the immature fight scenes comes frustrating dialogue. Not even halfway through the film, the characters turn to catty “she said, he said” arguments — or rather, “you never told me” arguments—which makes the viewer think, is the real thrill supposed to be these meandering conversations? The lack of plot exposition combined with the immense amount of captious dialogue makes the film run around itself in circles.
Dumars and Byrne consistently clash over Dumars’ handling of the case, as he refuses to contact his higher-ups about the situation. This alternates with the “dope cops” (Baptiste and Salazar) counting the found money in the basement for inventory. They talk about how a small sum of the money they are counting would be life-changing for them. Following these scenes, Ro learns from Molina that Dumars lied on the phone about how much money was in the house. The Rip should’ve leaned into more commentary on capitalism and greed but fails by trying to lean into the true story and recount everything that happened in just under two hours.
Near the end of the film, prior to a large action scene, the dialogue replicates a Knives Out-style whodunnit, where Dumars and Byrne “crack the code,” but in reality, it makes the audience feel inadequate. Who are they trying to convince? Did the other characters not know about this all along? It seems like they did, or so the viewers thought. Not only does it seem like character assassination for insulting their intelligence, but it, again, runs in circles, reiterating everything that has been seen and said already.
Despite the rambling dialogue, the film’s technical aspects shine. The production and sound design are standout factors, led by Judy Becker and Craig Mann respectively. Molina, who lives in her late grandmother’s home, is surrounded by a hoarder’s paradise, complete with scattered old phone books and lived-in furniture. While some of the items become plot-pertinent, all the items are purposefully placed and feel authentic to the setting. The sound design is well-balanced, which complements the film and doesn’t take the viewer’s attention away from the story.
As an action-thriller, The Rip fails to deliver. As a popcorn-munching group watch, this film thrives. If the audience doesn’t take the film too seriously, then they will have a more than enjoyable time, eyeing the impressive action sequences and appreciating the famous cast. The Rip simply falls short while also appealing to viewers that want an easy, undemanding watch.
