Dope Thief Premiere Recap: Let Me Tell You a Bedtime Story

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Philadelphia appears particularly chilly and overcast for a gripping opening scene, swiftly heating up the tension as characters Ray Driscoll (played by Brian Tyree Henry) and Manny Carvalho (portrayed by Wagner Moura), who are small-time crooks pretending to be DEA agents to swindle an unassuming drug operation, burst into a house of unsuspecting dealers and walk away with a relatively small haul. In the ensuing discussion between Henry and Moura about whether they need to bring on a third person to guard the entrance – a conversation filled with the captivating chemistry we’ve grown accustomed to from these two remarkable contemporary actors and TV personalities.

Sometimes a premise just sells itself, you know?

According to Dennis Tafoya’s 2009 novel titled “Dope Thief“, the narrative begins vigorously and mirrors the resilient, either-fight-or-flee demeanor of its main character, Ray. In a situation where Manny is rummaging through his house, Ray addresses his audience with a soothing, “Let me spin you a bedtime tale.” The narrative he presents revolves around a young man who spent his crucial years in juvenile detention, and later landed in federal prison upon turning 18. This young man, as we come to understand, is none other than Ray himself – a consistently mistreated, lonely, impoverished African-American male, with few prospects other than to make the best of it within the ruthless, multi-tiered game that is America’s competitive struggle for survival.

Peter Craig, who has written various projects from “The Town” to “The Hunger Games: Mockingjay” (Parts 1 and 2), “The Batman,” “Bad Boys for Life,” and lately “Gladiator II,” finds a perfect fit with his skills in the classic American crime story once again. Similarly, Henry’s unique abilities, that have been relatively untapped since the end of “Atlanta,” are brilliantly displayed in this genre.

The rest of the characters are quite impressive as well. Notably, Kate Mulgrew, who played Captain Janeway in Star Trek, portrays Theresa – Ray’s adoptive mother and Bart’s (Ving Rhames) partner, often referred to as his “old lady.” Theresa is a tough Philadelphia woman with a kind heart and a small, scruffy dog named Shermy. Although I’m not accustomed to East Coast accents, Mulgrew seems convincing in her portrayal of Theresa. As the show begins at Theresa’s house, Ray arrives seeking updates on her bills and medical tests. Their interaction is characterized by bluntness yet warmth. “Degenerate,” Theresa mutters as Ray mentions Manny is coming to pick him up for work. Ray avoids discussing his job, and Theresa remains secretive about her financial situation and health status. However, she sends him out with a birthday cupcake, echoing the first one she gave him during his initial stay at her home.

Ray clarifies to Rick (Spenser Granese), an old acquaintance from prison who could potentially offer them a new opportunity, “Even though we’re not actual law enforcement, we still operate professionally.” Ray and Manny then share some insights about their activities, their relationship, and their criminal partnership. Their quick dialogue is interspersed with clips of them executing heists while disguised as DEA agents, which highlights the precision, nerve, and planning they claim are crucial for their kind of work. On a structural level, this scene resembles Ray and Manny’s operation itself – streamlined, effective, and engaging, albeit with a somewhat rushed feeling.

Rick seems to understand their explanation and agrees with them to some extent. Ray and Manny appear to be managing a relatively small operation that doesn’t attract much attention from federal authorities or dangerous drug runners. They even consider themselves as local Robin Hoods, despite not following the traditional definition of stealing from the rich and reinvesting their earnings into the community. Nevertheless, Rick points out that their actions might bring unwanted attention in the city. Instead, he suggests that they could find bigger targets with less risk in the countryside where he operates.

Despite his own doubts and Manny’s concern, Ray chooses to accept Rick’s job offer. The growing influence of this “side hustle” on his life makes Manny a bit uneasy. His girlfriend, Sherry (Liz Caribel Sierra), is moving in with him, and the increasing complexity of the situation conflicts with his Catholic guilt over his criminal activities. Even the Patron Saint of Thieves hanging around his neck can’t justify the dangerous path they seem to be embarking on. For Ray, the risky part lies in not accepting the larger job (and its substantial reward). Theresa needs $10,000 and she won’t reveal why, but he suspects it has something to do with medical expenses at her home.

In this scene, we’ll create a thoughtfully inserted character-study montage featuring Ray, who shares his experiences from an AA meeting chair. We discover that Ray’s sobriety is precarious at its best, and the destiny thrust upon him as a child has led him to a secluded, somewhat reclusive lifestyle. Ray expresses, “There are moments when I just don’t want to see,” referring to instances when his father would confine him in a closet to prevent him from witnessing his drug use. Ray is a deeply empathetic individual struggling to confront his own spiritual awareness, as shown when he surveils the rural drug house and finds himself sympathizing with Mina (Marin Ireland), one of the suspected cooks they intend to rob: “I felt like I understood her perfectly, because I could feel the prison she had built around herself.

Ridley Scott, who’s known for both his meticulous craftsmanship and grumpy demeanor, sometimes works for Apple TV but directs “Jolly Ranchers” as if it were a true 21st-century production by him. The setting reminds us of his work in “American Gangster,” though it may not be his strongest genre. To be honest, the gladiatorial arena isn’t thriving these days, and I quite enjoyed “Gladiator II” despite its complexities. However, Scott’s efficient, swift-moving approach to filmmaking is well-suited for modern TV production, as is his knack for establishing a clear, compelling tone for a talented cast. Monochrome flashbacks depict a girl from school who was involved in a car accident with a young Ray at the wheel, hinting at a troubled past.

As a movie enthusiast, I must admit that by the climactic scene, we’re deeply immersed, both emotionally and cinematically, setting the stage for a botched heist. Kudos to Scott and his team for delivering a gripping, gritty spectacle reminiscent of True Detective, filled with turmoil and violence. The plot takes an unexpected turn when a drug-addled Rick accidentally shoots his captive cook in cold blood. In response, Mina, showing remarkable precision with her pistol and assertiveness with her “Like hell you’re Federal agents!”, fires back at Rick who retaliates, hitting Mina instead. Miraculously, she survives the ordeal, while Ray and Manny escape with a large bag of cash and containers of liquid meth. They flee just miles away when an eerie voice, eerily similar to the Ghostface from Scream (which initially made me question if it wasn’t the actual voice), crackles through their cheap walkie-talkies. The chilling, direct, yet passionate threats on their lives leave no doubt – they’ve just crossed some formidable drug cartel. They’re not real cops or hardcore hustlers; their criminal activities have always been ethereal, ghosting between worlds without making waves. “Until now,” they both acknowledge simultaneously.

Bottom of the Bag

While Mina regains consciousness in the hospital, two other police officers brief her about the situation. Unable to speak due to an injury, she scribbles a sequence of angry demands, displaying an indomitable spirit that transcends the frailty of her body. The most urgent among them was “GUARD MY COVER.” I’ve been admiring her as a compelling screen personality since I saw her in the horror film The Dark and the Wicked. I can’t imagine a more thrilling pick for our anti-hero police officer, who serves as a counterpart to our anti-hero criminal, Ray.

As I delved into this initial episode, Gene Hackman’s recent demise was unavoidably on my mind. Not only was he one of the most outstanding American film actors, but he was a consistent presence in the ’70s crime dramas that shows like Dope Thief, The Penguin, and others emulate today. Watching Brian Tyree Henry and Wagner Moura interact in this series brought to mind the chemistry between Hackman and Roy Scheider in The French Connection, or Dustin Hoffman and Gary Busey in Straight Time. In fact, it seems as though Brian Tyree Henry’s acting talent draws from the same profound reservoir of screen presence and authentic emotion that characterized Hackman’s performances, regardless of the character’s flaws. If there is anyone deserving of carrying on Gene Hackman’s legacy in today’s media world, it’s Brian Tyree Henry.

Hello there! Excited to discuss another captivating crime series with you all. Last time we chatted, I was analyzing “The Penguin”, and as I’m deeply fascinated by the Gotham crime chronicles in every form they take, it’s fantastic to delve into another crime narrative that stands strong on its own without needing a comic book backdrop.

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2025-03-14 17:54