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The Con Is On

The Con Is On

2018

R

Director

James Oakley

Runtime

95 minutes

Average Rating

No ratings yet

Synopsis

In an effort to avoid paying off a massive gambling debt to a notorious mobster in England, a couple flees to Los Angeles and hatch a jewel theft plot.

Where to Watch

Diversity & Representation

Overall Score

4.6/10

Fair


Category Breakdown

LGBTQ+ Representation

Limited

The story centers on a traditional heteronormative romantic partnership. There is no explicit evidence of queer romantic subplots or non-cisnormative identities.

Gender Representation

Good

The film subverts typical tropes by making Harriet the highly capable, tactical lead. Her partner, Peter, is portrayed through a lens of instability and addiction.

Racial & Ethnic Diversity

Fair

A multicultural cast including Sofía Vergara and Maggie Q adds texture to the setting. However, the narrative focus remains primarily on a British expatriate duo.

Religious & Cultural Diversity

Good

The film offers a skeptical view of religious institutions, portraying a Catholic priest as a corrupt participant in criminal activity. It embraces a secular, postmodern morality.

Disability Representation

Limited

There is no significant representation of visible or invisible disabilities. Peter's substance abuse serves as a plot driver rather than a nuanced exploration of health.

Strengths

  • Subverts gender hierarchies by centering a highly capable female lead.
  • Provides a multicultural texture through a diverse international cast.
  • Offers a secular, skeptical critique of traditional religious institutions.

Areas for Improvement

  • Lacks explicit LGBTQ+ representation or queer romantic narratives.
  • Fails to explore intersectional racial dynamics or systemic narratives.
  • Misses opportunities for nuanced representation of disability or neurodivergence.

AI Analysis

The film succeeds in subverting gendered competence by positioning Harriet as the primary driver of the heist. This inversion of the traditional masculine lead provides a refreshing dynamic to the caper genre. However, the narrative lacks depth in other areas of identity. The story remains largely centered on a white, British expatriate perspective, missing opportunities for intersectional racial or LGBTQ+ storytelling. While the film offers a cynical and interesting critique of religious authority, it fails to engage with disability or neurodivergence, treating character flaws as mere plot devices.

How are these scores produced? →

Featured in

  • Best Religious & Cultural Representation in Film

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