Film Review: Finding Steve McQueen

One of the more interesting elements of Finding Steve McQueen (which, strangely enough, isn’t the only Steve McQueen related movie to come out this year) was the context surrounding the 1972 United California Bank robbery that the film depicts. The money in the bank vault supposedly belonged to Jimmy Hoffa, who paid off President Richard Nixon through “campaign contributions” in order to have his prison sentence commuted. But since Hoffa wasn’t happy with the restrictions placed on him as a part of his commutation deal – which banned Hoffa from taking part in union activities until 1980 – the information regarding the whereabouts of the money was eventually given to a group of bank robbers from Youngstown, Ohio.

That’s what I find fascinating. A story with grand implications, bigger historical contexts, and heavy names like Nixon and Hoffa, but it’s ultimately focused down to being about a bunch of small time robbers. The one we follow here is Harry Barber (Travis Fimmel), a Steve McQueen fan who becomes a part of his uncle Enzo’s (William Fichtner) plan to rob a bank in Laguna Niguel, California. However, the story is largely told in flashback that utilizes an amusing framing device where Harry is explaining to his girlfriend, Molly (Rachael Taylor), the truth about him and what he has done.

The film keeps things light, almost bringing an old fashioned sense of whimsy not all that dissimilar to last year’s The Old Man & The Gun, except nowhere near as meticulously nostalgic in its aesthetics. There are moments of broad humor, and sly character beats. The group of robbers are made up of colorful character actors like Fichtner, Jake Weary, Rhys Coiro, and Louis Lombardi, all of whom get to make an impression despite minimal material to work with. Add on Forest Whitaker as a an FBI agent, and you got yourself a party.

The focus is mainly placed on the ever evolving relationship between Harry and Molly, since in the flashbacks, we see how they meet, and how his life as a robber begins to change things without her even knowing. Their bickering as the film jumps in and out of the flashbacks are funny and kind of endearing, and both the actors bring plenty of charm to the proceedings. Although, I can’t say I’m entirely what to make of Fimmel’s whole…vibe. I’ve seen him in a couple films like Warcraft and Lean On Pete (sorry, haven’t seen that Vikings show), and every time I see him, he looks like he hasn’t slept in a week, and is running on fumes. I know that sounds insulting, but it honestly kinda works, since he tends to play these slightly offbeat characters, who are not quite as smooth as they think they are, and his take on Harry Barber totally does work with his particular screen presence.

Director, Mark Steven Johnson, is clearly working on a limited budget here, making me wish he had the resources he got with projects like Daredevil and Ghost Rider, but he makes it come together well enough. Unfortunately, that lack of polish does make things a bit underwhelming considering how much it intends on evoking the King of Cool, Steve McQueen. It’s not a poorly made film, though. The period details are all there, it’s shot with some confidence and an occasional flourish, the car stuff is solid.

And like with many heist movies, there’s a lot of fun to be had in seeing how a group of people come together to work their way through a robbery. Writers, Ken Hixon and Keith Sharon, both understand the joy of seeing these kinds of characters take things step-by-step, and since this isn’t a typical bank robbery where they run in guns blazing, they have to use their wits to get inside the bank without anyone noticing or tripping the alarm. It is satisfying to watch them problem solve, and eventually pull it off.

I would say I had a pretty good time watching Finding Steve McQueen, even if it ultimately adds up to just being disposable fun. It rides on the stranger-than-fiction story and the charisma of the actors to keep you engaged, and it works on that level. Aside from that, it’s pretty thin on a script level, but never bad. I did find myself wishing there was more resources provided to the filmmakers, so that the movie could be as stylish as it clearly wanted to be, but they do make the most of what they have. Travis Fimmel carries the film well, and the supporting cast is equally as likable and compelling to watch. All in all, it’s a light sit, not too substantial, hardly essential, but sometimes, these kinds of movies can hit the spot.