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Strap yourself in for one hilarious "action-comedy with great chemistry great one-liners [and] expert direction" ( New York Post )! Bruce Willis "makes all the right moves" ( San Francisco Examiner ) as the man with the perfect bank-robbing planand two imperfect partnersin this "terrific [film that's] as much fun as you'll have at the movies all year (FOX-TV)! Busting out of prison, Joe (Willis) and Terry (Billy Bob Thornton) are on the run and out of money. That changes when they devise a scheme to place bank managers under house arrest the night before they rob their banks. But success as the infamous "sleepover bandits" isn't the only change in store for them. As they cross state lines and federal laws, they meet Kate (Cate Blanchett), a sexy, eccentrichousewife whose indecision as to which of the two bandits she wants could spoil their partnership for good!
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The movie's first asset is its diverse lead characters: Jasmin Tabatabai is electrifying as loose cannon Luna, while also having penned most of the songs on the soundtrack. During the music-video sequences, which are so expertly edited and nicely timed in the film so they don't seem jarring at all, she becomes a rock goddess, while also holding her own with comic timing and during the more sensitive sequences. Katja Riemann is great as brainy, middle-aged drummer Emma, and when Emma and Luna share their heart-to-heart on the street after Luna's drunken binge, it's the most beautiful moment in the film, where von Garnier reins in her camera and lets the actors breathe. Not-too-bright, vulnerable bassist Angel (Nicolette Krebitz) and melancholy keyboardist Marie (Jutta Hoffman) round out the band, helping to provide shades, diversity and tension.
The music itself isn't for everybody, but the sheer diversity of styles incorporated in this movie is refreshing: From hard rock to riot-grrl punk, from girl pop to acoustic folk, from blues to a lounge act (destined to go bad, L7 style) -- though it's not perfect music, it fits the tone of the movie perfectly, augmented by the fact that it *is* written and performed by the Bandits of the movie (aside from covers).
In the end, like Run Lola Run, Bandits negotiates its stylistic innovations such as disrupted time (absolutely brilliant editing by Hans Funck), dramatic ellipses and "invisible" payoffs with a sense of fun and moments of true catharsis to make a grandly enjoyable whole.