Writer-director Dean Imperial’s debut feature, Caper, hinges on a simple yet potentially compelling premise: a group of aging poker buddies embarks on a chaotic, late-night adventure to stop one of their own from spiraling into despair after sending an inappropriate selfie to his boss. The group’s mission? Retrieve the phone before dawn, or face catastrophic consequences. But while the concept holds promise, Caper fails to capitalize on its raw potential, devolving into a tedious and unfocused series of farcical mishaps.
Set against the backdrop of New York City, Caper makes an admirable attempt to tap into the neighborhood flavor and gritty realism of its locations. The film draws on the city’s extensive pool of scrappy, untapped talent, featuring a cast of mostly unknown actors, some of whom share a history with local improv companies. While this provides an authentic texture to the film, it ultimately fails to elevate the narrative, which grows tiresome and predictable.
The plot itself is straightforward: the friends—ranging from middle-aged to past their prime—race against time to prevent one of their own from suffering the consequences of his drunken mistake. In their frantic pursuit, they move through various boroughs, encountering a series of slapstick failures and embarrassments. Yet, while the setup offers opportunities for humor and pathos, Imperial struggles to balance the comedy with deeper character exploration. Instead of evolving the characters, Caper focuses too much on surface-level antics that fail to resonate emotionally.
A scene in which the group ventures into a nightclub, hoping to meet with a wealthy, coke-addicted magnate, exemplifies the film’s missed comedic potential. In a forced, unfunny setup, the men are required to rent skimpy themed costumes to gain entry. Though the situation seems ripe for humor, the film does little to exploit the awkwardness or discomfort of the scenario. What could have been a highlight instead falls flat, as the film’s lack of payoff leaves the audience uninterested in the outcome.
Despite a clear camaraderie among the cast, Caper doesn’t allow its actors to fully capitalize on their rapport. While there are moments where the performances shine—such as when Richard Cooper’s character fails to bribe a doorman, or Celester Rich’s character attempts to flirt with a security guard—these highlights are few and far between. For the most part, the humor in Caper is forced, quickly exhausted, and devoid of any lasting impact.
The film also struggles with its identity. Caper seems conflicted about whether it wants to be a lowbrow comedy or a satirical commentary on masculinity. The inclusion of simplistic and outdated dialogue—such as references to a “progressive feminist boss” or a woman telling the men to “get a therapist”—feels clumsy and out of place. The film’s attempt to elevate itself above the very machismo it mocks only serves to undermine the authenticity of the characters’ plight. What could have been a gritty exploration of male vulnerability instead comes off as shallow and self-conscious.
Ultimately, Caper represents a missed opportunity to deliver a sharp, character-driven comedy. Despite an intriguing premise, a promising setting, and a game cast, the film falters in its execution, offering neither humor nor insight. It’s a comedy that lacks the courage to dig deeper, and as a result, it stumbles in its quest for both laughs and meaning.
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