Coming off the back of a successful Sundance screening, EMILY THE CRIMINAL was picked up by Sky in the UK. They saw something that was worth time and money in the story of Emily (Aubrey Plaza), a talented artist down on her luck and scrapping by for money. Her life hasnt been the same since her infraction with a boyfriend lead to a minor criminal record. Work dried up and now she only has a chance as a food delivery driver who, after agreeing to take on an extra shift for a collegue, is handed a phone number for Youcef (Theo Rossi). This number directs her to a criminal network, selling stolen cards and buying dodgy TVs for a quick buck and fast turn around.

EMILY THE CRIMINAL treads a well worn path. Stories of a person out of their depth, caught in an intolerable situation, that has an impossible chance of escape without a lot of luck, is timeless. Add to it the dubious solutions that appear to solve it and you have most of classic literature. EMILY THE CRIMINAL is filmed Veritie style, absorbing the locales and spaces of the people it examines. Though far from the deepest dives into the underworld of Los Angeles, it has a lot to offer. Central to the performances is the lean direction, which stands resistant to modern exuberances. The difference also here is Aubrey Plaza, who gives an exceptional performance as the central protagonist Emily. Strong and fragile in an easy one step. Intellgent and emotional vulnerable, in another, she perfectly captures the nuances of Emily. She is not a monster, she is human. She is a victim of circumstance. There is another high note as well. Theo Rossi, an actor who has impressed me before, here helps to enhance Plaza performance and the gravity of the film extends. He sprinkles his character with a heart and empathy, allowing the register to site lower than expected.