‘Brothers Bloom’ proves to be fun-filled, adventurous thriller

“The Brothers Bloom” finds up-and-coming writer/director Rian Johnson once again playing around in the sandbox of genre films, specifically the caper flick. Like his debut feature “Brick” (a hit on the festival circuit in 2005), which posited a traditional noir yarn in a contemporary high school setting, “The Brothers Bloom” is a fascinating hybrid — part heist film and part screwball comedy.

“Bloom” tells the story of Stephen (Mark Ruffalo) and Bloom (Adrien Brody), brothers who, since discovering their calling in early childhood, have honed the craft of con artistry and become two of the most infamous gentlemen-thieves around. Stephen devises the plans, Bloom acts them out. Though it’s a match made in larceny heaven, Bloom wants out.

After Stephen convinces Bloom to take part in one last con, the film is off to the races. Stephen finds the mark, a rich and beautiful recluse named Penelope (Rachel Weisz), who in her isolation has become a “collector” of hobbies and knowledge while maintaining a certain child-like naivete. With their all-but-mute accomplice, Bang Bang (Rinko Kikuchi), in tow, the brothers set out on a globetrotting mission to swindle Penelope out of a hefty sum of cash.

Like any self-respecting caper tale, the rest of the film consists of an endless string of clues, twists and revelations, so any more plot summary would be detrimental. In other words, to describe any more is to spoil the fun.

Johnson is clearly well versed in the genres that he loves. “Bloom” certainly seems to be an homage to films like “The Sting” and “Dirty Rotten Scoundrels,” and it succeeds for the most part. It is thrilling, clever and genuinely funny. Johnson also demonstrates ingenuity in creating extraordinary visuals despite low production costs. The material calls for something out of the ordinary, and “Bloom” is vivid and kinetic throughout.

The performances are very strong across the board. Unsurprisingly, Weisz steals the show with her offbeat portrayal of Penelope. We can’t help but love her, and her quirky enthusiasm balances perfectly between naïve and dangerous. How much does she really know?

Ruffalo and Brody are tailor-made for the leading roles, the former a confident cowboy with an overbearing need for the thrill of the heist and the latter a much more vulnerable, emotional criminal. Their chemistry is palpable. Kikuchi, who was nominated for an Academy Award in 2006 for her heartbreaking turn in Alejandro Gonzalez Inarritu’s “Babel,” wrings the most out of an almost wordless role. She might have fared very well in the days of silent film.

At times, however, Johnson’s aspirations seem to outrun the film. The writing, while strong, becomes a little strained, as if too much happens in too little time. The pacing suffers, and the build-ups don’t always adequately set up the pay-offs.

This does not break the movie, however. It still stands as one of the most ambitious and inventive movies of the year. Johnson has crafted a taut, exciting thriller that will offer film students a chance to flaunt their knowledge of genre history while pleasing summer audiences simply in search of light but intelligent entertainment.