As far as Martin Scorsese copycats go, “The Infiltrator” fares better than most. Although the latest from Brad Furman (“The Lincoln Lawyer”) is too indebted to the veteran filmmaker to ever find its own identity, it’s the kind of buttoned-down, tight-gripped, procedural drama-thriller with enough commendable performances, attention to character, hard-hitting violence and suitably unflashy ‘80s period details to pull you into the action. Because it settles for cliches more often than not, and its clunky pacing hinders the proceedings, it doesn’t earn the master’s coveted gold star sticker. But as far as mature, component B-level filmmaking goes, it’s a fitfully entertaining impersonation, to say the least.
Accountant-turned-U.S. Customs Service agent Robert Mazur (Bryan Cranston) fights the war on drugs from the inside. It’s 1986, and the cocaine trade is at an all-time high in the United States, valued at nearly a trillion dollars. As an informant for the government, Bob regularly disguises his real identity, buddies up with criminals and turns their trust against them whenever the time is appropriate. He’s among the best at what he does, but it has taken a toll on the sanctity of his family — most especially his wife, Evelyn (Juliet Aubrey) and their young children, while also affecting his health. A recent incident involving a faulty recorder nearly marked the end, but Bob craves the risky business, even if he knows it could very well get him killed one day. Moreover, he might have a way to take down a drug empire, and despite his wife’s protestations, Bob puts himself through “one last mission.” And it’s a big one.
While the government has successfully regulated drug transports over the years, Bob realizes they’re focusing on the wrong targets. Rather than track the cocaine shipments, which can be replenished in a matter of days, they should, in the immortal words of “All the President’s Men,” follow the money instead. That’ll lead them to the kingpins themselves, and bring down the men most responsible. With that in mind, Bob organizes a sting operation and assumes a wildcard identity in Bob Musella, a powerful businessman laundering talk stacks of cartel money. Bob gets himself involved with a multiple respected international bankers, and works his way up the criminal ladder, ultimately making acquaintances with Pablo Escobar.
Infused with enough grime and grit to stand out, but not quite enough to feel raw or completely visceral, “The Infiltrator” often plays up to its imitations without feeling divorced enough from other, better films to stand on their level. Unlike Paul Thomas Anderson’s early works, including “Hard Eight” and “Boogie Nights,” for instance, Furman’s film doesn’t trust itself enough to work his own sensibilities outside of Scorsese’s familiar style, and that often hurts the film’s credibility. There are more than a few blatant attempts to mimic Scorsese’s most popular techniques, and they feel exceptionally heavy-handed. One or two, in fact, often distract from the overarching narrative to provide some flashy respect to the legendary director, most notably a five-minute single take clearly paying homage to the most famous shot in “Goodfellas.”
However, with a solid script from his mother, Ellen Brown Furman, based on Mazur’s autobiography of the same name, at least Furman can stumble away from his last misfire, 2013’s messy “Runner Runner,” to provide a smart, invigorated return-to-form. Reunited with Cranston and John Leguizamo, after working with both in “The Lincoln Lawyer,” the director appears more confident and composed than ever, proving himself a capable filmmaker, even without a voice of his own just yet. And one of the biggest keys to the film’s overall success is, indeed, Cranston, who’s suitably cast as the morally-just middle-aged American everyman caught between the moral and immoral sides of the law.
It’s not among his finest performances, but it’s one that he fits into like a well-worn glove. Much like Al Pacino and Robert De Niro in their heydays, Cranston always keeps a humility and vulnerability masked within his macho antics, which keeps him personable and continuously brings out a sincerity in his occasionally dubious actions. Mazer’s never quite a good guy, but he’s certainly not bad one either. He’s simply a well-intentioned man with a tricky position to uphold, and Cranston balances the layers and depths of his real-life character with all the nuance you expect from the rightfully praised versatile actor. As for his supporting players, there’s not a bad one in the ensemble. Even Leguizamo, as fellow U.S. Customs agent Emir Abreu, provides some genuine, well-needed levity to keep the film afloat — even if the character actor walks a fine line between estimable and irritating in his performance, as per usual.
Diane Kruger, playing Mazur’s rookie partner and potential love interest Kathy Ertz, is capable, sexy and extremely proficient, if often sorely underused throughout. Amy Ryan is likewise sharp and undercut by the overall narrative as their boss, Bonni Tischler. Meanwhile, Aubrey’s sorrowful performance is often the heart of the piece, while Benjamin Bratt also provides a soft-eyed sensitivity to Roberto Alcaino, our lead’s friend-seeking drugpin, that makes Mazur’s muddled feelings over the criminal’s impending demise completely understandable. But it’s ultimately Joseph Gilgun as Dominic, Mazur’s harden right-hand man, that often stands out the most. The English actor — already doing some great work at the moment on AMC’s “Preacher” — provides a genuine hard-edge grittiness to give the overarching film a heft and coarseness that’s sincerely needed. He only gets a handful of scenes throughout, but Gilgun always owns the moment whenever he’s on-screen. You should take note of the “Misfits” actor if you haven’t already. He’s destined to go places.
“The Infiltrator” is ultimately a solid, if not exceptional, Scorsese takeoff, one that has just enough spunk and wit to make up for its often-apparent shortcomings. It doesn’t quite pop, and it doesn’t necessarily sizzle, but it’s intelligent enough to stand beside its comparisons. For those looking for a decently-made, old-fashioned scuzzy crime drama, it should pass the test. [B-]