Con artists are not lacking for terrific movies about them. Audiences were treated to a slew of them in the early 70s, starting with Joseph Mankiewicz’s masterful Sleuth, followed the next year by the Best Picture winning The Sting, which had Paul Newman and Robert Redford tag-teaming and two-three and even four-timing with aplomb. Even Orson Welles’ came out of quasi-self-imposed cinema exile to offer his still unparalleled film essay F for Fake in 1975, which continues to challenge audiences and critics alike with its ambiguous depictions of fraud and fakery. After the unmitigated failure of The Sting II, however, the genre quieted, with only a few treats in the 80s and 90s like John Cleese and Charles Chrichton’s caper A Fish Called Wanda and Minghella’s The Talented Mr Ripley. The genre arguably reached its heyday at the turn of the century, with Ocean’s Eleven providing a luxurious remake of a rather lackaidasical caper from the 60s, trading in that film’s notable Rat Pack for a slew of Hollywood elite, before Spielberg and Scott got into the game the following years with fine efforts like Catch Me If You Can and Matchstick Men, respectively. The makers of Focus seem at least partially aware of this rich history, indeed one of the film’s production companies is even called Ratpac-Dune (one named after the men, the other the former Las Vegas casino?), but rather than doing anything to enliven the genre, they struggle to offer anything remotely enjoyable.
In an opinion piece posted on Forbes today, Paul Tassi explores the debate of video game length, especially in regards to the recently leaked gameplay footage that clocks total time for The Order: 1886 at about five hours (the YouTube video has been since deleted, however, and Ready at Dawn has remained quiet on the issue). I thought I’d examine this article in more detail since my last post focused on a similar issue, examining it from the opposite perspective of too much story, writing about the narrative excess in Alien: Isolation–a game I found commendable in many respects, but ultimately far too long.