Upon first sight, Eenie Meanie could be considered a Baby Driver adjacent thriller set against the backdrop of dystopian Cleveland - fueled by its fantastic chase sequences and the high-octane performance at the wheel. Functioning as writer/director Shawn Simmons’ directorial debut, this is a grand starting point, assisted by the producing duo of Rhett Reese and Paul Wernick (Deadpool, Zombieland). 

 

If there’s a safe bet on a factor that everyone will agree on, it’s that Samara Weaving (Ready or Not) gives her absolute all as Edie. She’s strong willed, yet so easily taken back by this toxic relationship she’s been clinging onto since her teenage years. Her performance, similar to most of her others, has layers behind each evolution of her emotional arc and when it all comes crashing down, while not roaring an iconic scream this go ‘round, her facial mannerisms tell all.  

 

Eenie Meanie is a drama first, building out the character’s backstory (at least Edie and her partner John) and heist film second. The dramatics are worth investing into as they showcase why such a clear toxic relationship continues to be unbreakable between the pair. The film isn’t just about getting away with several million in a casino heist, but it’s a direct translation of disconnecting from those around that take advantage. 

 

This is where John comes into play, Karl Glusman (The Bikeriders) is perfect in the role as a junkie thrown in and out of rehab by constant judges and never learning a lesson. This time he’s not only put himself, but his love life on the line, and with little care for her overall wellbeing; let alone a child on the way. The film navigates John’s tale, witnessing Edie’s unhealthy bond with the man as he does everything in his power to pull her down with him.  

 

After getting mixed in with the wrong crowd (per usual it seems) John entangles Edie into his mess and they must redeem themselves for an “accidental” murder that occurred by pulling off a multimillion dollar heist. The deck is stacked against them, but they’ve got a team on their side and a kickass driver behind the wheel.  

 

The cast is accompanied by some heavy hitters that I haven’t had the opportunity to see on screen in a minute - Andy Garcia (Smokin’ Aces) and Steve Zahn (Joy Ride), two talented individuals that have some powerful moments to add, yet are ultimately lackluster in their overall part on screen. Both an allegory for turning a new leaf in two drastically different fashions, but their storyline feels almost thrust in just to be pulled right back out. 

 

Marshawn Lynch is here as a villainous competitor of the past, that just so happens to be residing at the very same casino the heist is about to go down in. Since Bottoms, I’ve been on his side as a performer and he is just average here - not doing much else than existing in the moment, which is a bit of a disappointment as a potential villainous upset. 

 

The stunt work and well orchestrated car chases are hypnotic pieces of solid filmmaking - quite similar to the addictability of those featured in the comparative Baby Driver. The drama is well constructed and powdered in when necessary to heighten the emotion of the disastrous bond between Edie and those toxic around her. The only issue with the film is its decision in terms of its pace, taking far too long to get to the heist itself and the preparation presented on screen is almost an afterthought. Sure, there is a minimalistic exposition of what’s going to happen, but when such masterpieces as the Ocean’s trilogy can conquer this feat three times in a row - why not Eenie Meanie. 

 

Apart from those minor complaints, the film presents an effective message on toxicity needing to be expelled from your life in order to truly begin anew. The only problem is if those intertwined can find the strength to pull apart. How would this film be defined you may ask. Is this a heist film? Sure, upon first glance. Is this a drama? At its very core.