The Con Is On (2018)

The Con Is On is the kind of slick, sunlit noir that knows crime can be glamorous, stupid, and very funny all at once, turning Los Angeles into a playground for desperate schemes and bad decisions. It’s a caper that moves with a clever, stylish rhythm—more about attitude and escalation than heavy realism—while its dark humor keeps the stakes feeling wickedly entertaining rather than grim. The ensemble leans into the con-game energy with relish, and Uma Thurman in particular brings a sharp, magnetic presence that makes the whole operation feel more deliciously dangerous. If you like your crime comedies glossy, a little twisted, and knowingly ridiculous, this one has real cult-movie charm—though if you prefer your capers tightly plotted and grounded, it may feel more breezy than essential.

The Con Is On wants to be a breezy, fast-talking crime comedy about two desperate grifters improvising their way through Los Angeles, and on paper that’s a perfectly watchable setup. In practice, the plot lurches from one contrivance to the next, and the humor often lands with a thud, leaving the whole caper feeling more exhausting than clever. The cast has moments of charm and you can see flashes of the slick, chaotic movie it’s aiming for, but they’re stuck wrestling a script that doesn’t give the jokes or the story enough logic to build momentum. If you’re hoping for a sharp, tightly plotted heist romp, skip it; if you’re content to have it on in the background for familiar faces and occasional quips, you might tolerate it.