‘Paper Tiger’ opens with brothers Gary (Adam Driver) and Irwin (Miles Teller) in over their heads. Gary’s a fast-talking grifter with a knack for trouble, and Irwin’s the loyal brother who can’t quit him. Their latest scheme involves the Russian mob in a story that tries too hard to feel like a Greek tragedy but ends up feeling like a mess of contrivances.

A film that wants to be more than it is

James Gray’s direction is slick, but ‘Paper Tiger’ stumbles over its own ambition. Gray clearly wants the film to feel like Sidney Lumet’s gritty dramas, but the script can’t back it up. The brothers’ loyalty feels forced, and the Russian mob’s involvement feels like an afterthought. The film’s grand moments clash with scenes that don’t believably connect.

Driver leans into Gary’s chaotic energy, chewing scenery with the same intensity he brought to ‘Annette.’ Teller’s Irwin is the straight man to Driver’s madness, but the script doesn’t give him much to work with. Their dynamic feels underdeveloped, like the film can’t decide if it’s a character study or a mob thriller.

Atmosphere over plausibility

Gray’s eye for detail shines in the film’s moody cinematography and tense set pieces. The Russian mob scenes have the kind of ominous vibe you’d expect, but the plot twists feel cheap. Characters act without clear motivation, and the story’s logic falls apart under scrutiny. It’s like watching a car crash in slow motion—you can’t look away, but you know it’s not going to end well.

The film’s biggest flaw is its refusal to commit to any one tone. It wants to be a dark comedy, a crime thriller, and a family drama all at once, but ends up feeling scattered. The Russian mob’s involvement feels tacked on, like an excuse to add some danger without building a real story around it.

Driver’s performance saves the film from total disaster. He brings charisma and unpredictability to Gary, making even the most ridiculous moments feel compelling. Teller, though, is stuck playing second fiddle to Driver’s antics. His Irwin is a tragic figure, but the script doesn’t give him enough to do beyond reacting to Gary’s chaos.

The film’s score is another standout, pulsing with tension and melancholy. It’s one of the few elements that feels intentional and well-executed. But even the music can’t paper over the cracks in the story. ‘Paper Tiger’ is like a soufflé—it rises beautifully, then collapses under its own weight.

What’s next for Gray and his stars

Gray’s next project is already in the works, though details are scarce. Driver is set to star in an upcoming sci-fi film, while Teller is diving into a biopic about a real-life figure. Neither project seems likely to repeat the missteps of ‘Paper Tiger,’ but Gray’s track record suggests he’s capable of more cohesive work.

For fans of Driver’s unpredictable energy, ‘Paper Tiger’ might still be worth the watch. For everyone else, it’s a film that promises more than it delivers. The Russian mob backdrop feels like window dressing for a story that can’t decide what it wants to be. It’s a shame, because the potential for something great was right there—if only the script had been tighter.

What You Need to Know

  • Source: Variety
  • Published: May 16, 2026 at 21:54 UTC
  • Category: Entertainment
  • Topics: #variety · #movies · #hollywood · #entertainment · #paper-tiger · #review

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Curated by GlobalBR News · May 16, 2026

🇧🇷 Resumo em Português

“O cinema de James Gray volta a mergulhar no submundo do crime organizado, mas desta vez com um enredo que beira o absurdo e uma trama que desafia a lógica mais básica. Em Paper Tiger, os irmãos Miles Teller e Adam Driver se veem enredados em uma teia de traições e violência sob o comando da máfia russa, em um filme que, apesar de carregado de atmosfera, peca pela falta de coerência.”

A história se passa nos Estados Unidos, onde dois irmãos, aparentemente sem ligações com o crime, são arrastados para uma perigosa operação envolvendo a máfia russa após uma traição inesperada. O filme tenta explorar temas como lealdade familiar e sobrevivência, mas a narrativa se perde em reviravoltas excessivamente dramáticas e uma construção de personagens pouco convincente. Para o público brasileiro, acostumado a produções nacionais que equilibram ação e realismo, a falta de plausibilidade pode soar como um ponto fraco, embora a direção de arte e a fotografia mantenham um visual atraente, típico do estilo de Gray.

O que fica claro é que, mais uma vez, o cinema de Gray prefere a estética ao enredo — e, nesse caso, os espectadores terão que decidir se a dose extra de estilo compensa a falta de substância.