Russell Crowe's Sleeping Dogs Has A Compelling Premise & An Illustrious Cast, But There's Nothing Beyond It

THERE ARE MURDER MYSTERIES, and then there are murder mysteries starring Russell Crowe.

Crowe’s latest movie, Sleeping Dogs, which premiered on Lionsgate Play on August 2, isn’t the most inventive of murder mysteries, nor is it engaging enough to have you consistently hooked. Sleeping Dogs is a slow-burn thriller that depends a lot on the drama between characters, as opposed to the plot of how the murder in question happened. Crowe’s gravitas, his personal inflictions and struggles as an ex-homicide detective who suffers from dementia and Alzheimers, and his smouldering presence, make Sleeping Dogs watchable. 

The film begins with a Memento-esque sequence, in which Rob Freeman (Crowe) wakes up to see labels and reminders stuck everywhere around him. Details of his diseases and his identity like address, phone number and essential info can be found in various post-it notes around the house. It immediately grabs your attention and you brace yourself for a deeper exploration of a retired ex-cop with a memory problem who tries to piece the puzzles of his life back together. However, the film doesn’t waste too much time here, and dives straight into the plot.

An inmate named Issac Samuel requests to meet Freeman to let him know that he has been wrongfully implicated in the murder of a well-known professor, Dr Joseph Wieder. Freeman’s ex-partner, detective Jimmy Remis forced him to confess. When Freeman reviews his old files, it sets Freeman down a rabbit hole of murky revelations, creepy murders and uncovered truths, most notably one involving a drunk driving accident that resulted in his head trauma. He is simultaneously a part of an experimental regenerative treatment that attempts to revive his neural pathways. As we move ahead with the story, Freeman gains more clarity and starts to remember all of the truths that he’d buried. 

Crowe’s Gladiator costar Tommy Flanagan plays his former partner and their chemistry is palpable. Another memorable character in the film is Laura Baines, played by Karen Gillian, who is the resident femme fatale in this universe and she definitely holds up her end of the bargain. One wishes we’d get to see more of her but the film is more committed to inundating the plot with as many confusing tracks as possible, to no cohesive end. 

Perhaps the most glaring inconsistency in Sleeping Dogs is that it can’t decide what film it wants to be. The murder mystery set-up is just not delicious enough to get invested (I guessed the ending in the first 20 minutes — and if you’ve seen enough psychological thrillers, the red herrings are plastered all over). The emotional impact of a near-death accident and the disturbed psychosis that follows aren’t explored enough. The film haphazardly jumps between arcs, moods and even genres, and at some point, you just want to take your phone out and doom-scroll. 

There are some standalone moments in the film that are worth mentioning here. The opening sequence, the intercutting of current reality with Freeman’s memories making a comeback, and a few “hook” scenes that misdirect you enough to feel like a jump scare. Scenes in which Crowe is alone and trying to figure out what mess he’s gotten himself into are top-notch and feel immersive enough to forget the disjointed storytelling you’ve witnessed before or after. 

Sleeping Dogs is one of those films that rests on a compelling premise and illustrious talent but doesn’t really know what to do beyond the set-up. Imagine going through several beats and predictions based on the unravelling plot, only to be left high and dry because the movie didn’t think it necessary to see an arc through. That’s the dominant emotion you’re probably going to have while watching Sleeping Dogs. Don’t say I didn’t warn you.

Sleeping Dogs is currently streaming on Lionsgate Play.