We need more directors willing to take risks with films like Get Out.
Those con-man movies are best that con the audience. We should think at some point that everything is for real, or even better, that we can see through it when we can't. I offer as examples works by the master of the genre, David Mamet: "House of Games," "The Spanish Prisoner" and "Redbelt."
Rian Johnson's "The Brothers Bloom" lets us in on the con and then fools us. It does that in an interesting way. It gives us Stephen (Mark Ruffalo) and Bloom (Adrien Brody), and I might as well get this out of the way: I don't know why they're called the brothers Bloom when that's the first name of one, and neither seems to have a family name. Maybe I missed something.
From childhood, Stephen has fabricated con scenarios and created the characters and scripts for his younger brother Bloom to join him in. When they're adults, Stephen's girlfriend Bang Bang (Rinko Kikuchi), who speaks extremely rarely, is mostly involved as a passive bystander, witness, validator or sometimes more. For Stephen, life is a con, and he's living it. For Bloom, the game is getting old.
They meet a promising mark named Penelope (Rachel Weisz), who is rich, beautiful and lonely, even though most women who are rich and beautiful don't have a crushing problem with loneliness. She falls into a scheme fashioned by the brothers, and I will not specify which falls in love with her, but one does, and then ... I have to watch my step here. The brothers are such perfectionists that they like to involve as many marks as they can. Let's leave it that.