Criminal is the name of this film and also an apt description of the fact that it wasn't a sizable theatrical hit. It's every bit as fun as Matchstick Men, zips along at livelier pace and finds the always reliable John C. Reilly cast as perfectly as I've ever seen him. Since you probably didn't have the chance to catch this clever con-game caper in the theater I highly recommend that you pencil it in near the top of your rental list.

Criminal, as some may know, is a very faithful English-language remake of a recent Argentinean film "Nine Queens" (Nueve Reinas) and I honestly can't remember a more perfectly executed con picture since . . . The Sting. This isn't one of those genre films that rely on a twists and turns around every corner - you pretty much have it laid before you from the start and it's a hell of a lot of fun trying to decide who is conning who and who's playing on which side.

After the film I laid in bed for some time going over the machinations of the plot and just marveled at how brilliantly it's put together - with such a minimal reliance on pull-the-rug-out twists and revelations. It also works it's considerable spell with a refreshing absence of gritty, ugliness and for all it's compelling drama is amazingly light on it's feet.

The film starts with Rodrigo (or Brian as Reilly re-names him) getting into some penny-ante mischief in a Los Angeles casino. Diego Luna plays Rodrigo with a boyish mix of innocence and street savvy and proves the perfect counterpart for Reilly's Richard - a career con man who despite his despicable deeds remains likable as ever. Richard has recently parted ways with his former partner in crime and by managing to help Rodrigo elude casino security gets a chance to recruit the fresh-faced kid for a job he has in the works that will require a duo.

To prove himself Richard shows the kid a couple of quick cons that net them some spending cash, and before you can say "freeze" the film is off and running and never looks back. Again, Criminal contains practically no violence but is nonetheless taut and compelling right up until the end reveal. A reveal that you really don't see coming, but upon reflection admire for it's amazingly clever simplicity. Along the way you meet Richard's sister (Maggie Gyllenhaal) whose agenda you'll spend alot of time speculating upon, but just like everything else in Criminal remains a "your guess is as good as mine" proposition.

The con d'jour revolves around a counterfeited piece of extremely valuable currency, that is to be purchased by a Scottish media mogul (Peter Mullan) who happens to be staying in the hotel where Gyllenhaal works as a concierge. Never once does the plot color outside the lines of credibility, and is drawn so tightly that it is virtually impossible to suss out just exactly who might be conning who. Produced by Warners independent studio, Criminal is what indie films are all about. When compared to a similarly themed film that I recently saw, the sexy, but stillborn Neve Campbell vehicle Someone To Love, Criminal is sheer genius. Take my word for it, this film is fun as all hell, and is easily on par with last year's The Cooler. Amazingly, if not for the frequent F words and a bit of mature material toward the end, would be more or less suitable for the whole family.