Cash Out Review: Travolta’s Latest Fails to Spark Excitement

John Travolta leads the cast of Cash Out, a 2022 bank robbery thriller from first-time director Ives. Taking on the role of Mason Goddard, Travolta plays a renowned thief who is leaning retirement after his last job is compromised by a double cross. Just when Mason thinks he’s put his life of crime behind him, he’s pulled back in by requests from his hot-headed younger brother Shawn to help with “one final score.”

Of course, this score doesn’t quite go as planned. Mason and Shawn’s heist of a downtown Seattle bank’s safety deposit box quickly turns into a hostage situation. To make matters more intriguing, Mason must negotiate with his ex-lover Amelia, now an FBI agent leading the hostage rescue efforts. Their history together adds an layer of intrigue to the otherwise straightforward premise.

While the cast brings their all to their roles, particularly Travolta and Kristin Davis’ electric chemistry, Cash Out struggles to break new ground within the worn conventions of the heist thriller genre. Predictable twists and a by-the-numbers plotting prevent the film from truly investing viewers in its outcome. This review will take a closer look at the characters, action beats, and where the movie succeeds or falls short of reaching its potential.

The Bank Job Gone Bad

Mason Goddard is an experienced thief who is looking to retire from his life of crime. But when his brother Shawn comes calling with what seems like the perfect score, Mason finds himself drawn back into one last job. Shawn has gotten word of a bank safety deposit box containing sensitive information that will lead them to a fortune in cryptocurrency.

Mason is skeptical but agrees to help Shawn with the heist. They put together a small crew that includes a tech expert, a muscle, and Shawn’s friend Anton to help keep an eye on the hostages they plan to take. But the job goes wrong from the start. When they crack open the safety deposit box, there is no cryptocurrency wallet or anything of significant value inside.

To make matters worse, the bank is suddenly swarming with police reinforcements that just keep coming. As Mason and the crew try to figure out who tipped off the authorities, they realize Shawn may have gotten played. With the building surrounded, tensions rise inside the bank as the situation transforms from a simple robbery into a hostage standoff.

Negotiating with police is Mason’s ex-lover Amelia, who formerly worked with Mason before betraying him. Her presence complicates things further. As the crew scrambles for an escape plan, more layers to the mystery are uncovered that suggest greater criminal forces may be at play.

After several twists and turns, the story builds to a climax as Mason tries to outwit those manipulating events from the shadows. In the end, he must also face his past with Amelia. Through it all, Mason’s level-headed approach helps prevent violence and buys time and options. But will any of it be enough to get him and his brother out of this messy bank job alive?

Characters Bring the Heist Crew to Life

At the center of Cash Out’s heist narrative are a few core characters who drive the unpredictable plot. John Travolta leads the way as Mason Goddard, a seasoned thief feeling past his prime after betrayal shakes his confidence. But when family calls, his protective instincts reawaken. As the architect dragged back into “one last job,” Travolta imbues Mason with charisma and restraint, keeping calm under pressure.

His trigger was pulled by brother Shawn, played with youthful spontaneity by Lukas Haas. Eager to rejoin the game, Shawn leaps before looking as only the young can. His hasty actions spiral matters, showcasing how familial duty mixes with recklessness. Yet underneath, one senses Shawn truly looks up to Mason, who bears responsibility not just for the heist but his brother’s growth.

This brings us to Kristin Davis’ Amelia Decker. Her complex role as FBI agent and Mason’s former flame introduces volatile dynamics. Did she ever truly care for her target? Davis navigates these murky waters deftly, her negotiations tingling with tension. Through it all shines an earnest desire to see this situation peacefully resolved, regardless of past pains.

Adding flavor are the supporting thieves like Quavo’s comedic relief as Anton, keeping hostages calm but streets sharp. Navigator Link too lends a sophisticated air with her tech skills. Minor parts nonetheless leave impressions, showing that even blips on the radar bring lasting color to any story.

Together, this talented crew imbues life into archetypes that could easily feel stiff. Their nuanced work elevates a simple setup into a character-driven piece where motives remain murky but humanity shines through, making for a memorably unpredictable ride.

Travolta Takes the Wheel

Within the confines of a straightforward heist plot, Cash Out shows glimpses of visual flair. First-time director Ives makes energetic use of camera drones to capture aerial shots that lend drama to police movements. We see cruisers swarming around streets and officers rushing into position from new perspectives above the action. Ives also handily employs drone footage inside vast empty spaces like the confusingly expansive bank filled with labyrinthine corridors.

While production values remain modest, Ives’ direction finds novel ways to make the most of environments. A tense chase through a maze of cubicles keeps viewers turning corners alongside the characters. Later, a rooftop shootout spanning multiple floors of stairwells keeps heads swiveling above and below the frame. It’s clear efforts were made to make even lackluster sets entertain.

The bank itself emerges as a standout location. Transforming bland offices into a elaborate setting for an all-day siege, it becomes its own character. Characters dash between areas with differing architectural styles, from narrow stairwells to cavernous vaults interconnected in abstract ways. Through dynamic movement and spatial shifts, Ives sustains a fluid changing landscape for the action.

With a bigger budget, Ives’ direction could have really shone. As is, he creatively stages action and blocks scenes within strict limitations. Cinematography assists with colorful lighting that pops during nighttime scenes. Creativity and panache outstrip what one might expect given the modest means of production. Ives directs with energy and vision that lifts Cash Out above its straightforward story and lifts viewers’ entertainment above ubiquitous heist film formulas.

Tension and Action

Cash Out follows veteran thief Mason Goddard as he’s reluctantly pulled into one last heist by his impulsive brother Shawn. Right from the start, director Ives delivers fast-paced action with their daring airport theft of a luxury vehicle. Though brief, it introduces Mason’s cool professionalism under pressure and sets the stage for what’s to come.

The tension ratchets up another notch when their heist at a downtown Seattle bank suddenly goes awry, trapping Mason and Shawn inside with hostages. As law enforcement quickly surrounds the building, Mason must rely on his negotiating skills to diffuse the volatile hostage situation. His exchanges with ex-lover Amelia, now leading the FBI’s response, are cleverly written for intrigue and subtle humor even in dire straits.

Momentum carries through well- choreographed stairs and hallway maneuvers as Mason searches within the seemingly endless maze of offices for answers. Drone camera work lends an edge-of-your-seat quality to their close calls. Later, hair-raising car chases through busy streets sustain pulse-pounding drama. Quavo steals many scenes as comic relief but doesn’t distract from the serious stakes.

Yet for all its grip at points, Cash Out struggles to maintain urgency. Exciting set pieces feel scattered, with lulls that halt vital story progress. Mysteries around the intended heist target fail to payoff, robbing the climactic revelation of impact. Even Mason seems less invested in escape than rekindling old flames. While talent and potential shine through, a tighter Edit could have elevated this enjoyable genre piece from so-so to superb. Sometimes less really is more in keep audiences on the edge of their seats.

Cash Out’s Criminals and Capers

While Cash Out relies on well-worn tropes of the heist genre, Travolta and company bring some fun to the proceedings. As a retired thief drawn back in for one last job, Mason’s story kicks off predictably enough. But Travolta gives the character an air of weary charm, keeping audiences engaged as events unfold. We come to care about Mason, hoping he can avoid capture despite the screw-ups of those around him.

His dynamic with Amelia introduces an interesting wrinkle, their former romance now strained by her betrayal. Though their constant negotiations could seem forced, Davis and Travolta find genuine sparks. Their scenes together offer glimpses into what once was, along with tantalizing hints Amelia may still harbor deeper feelings than her duties allow. It’s a relationship that develops naturally against the backdrop of rising tension.

Supporting players like Haas as the hapless brother and Quavo as the comic relief hostage taker are skillfully deployed. Each feels fully-formed within the story rather than merely functional archetypes. Events stay logical as Mason scrambles to pull Shawn’s chestnuts from the fire, facing increasingly dire stakes.

Predictability is balanced by some plot points that catch viewers off guard. The identity of the bank’s real target packs an unexpected punch. While resolution comes easily, Cash Out focuses more on the fun of its protagonists’ escapades than large-scale climax. It tells a simple but satisfying crime yarn that never takes itself too seriously. Travolta’s skilled leading man performance anchors the entertaining caper.

Travolta’s Latest Fails to Ignite Old Spark

John Travolta reteams with director Ives in Cash Out, but what should have been an enjoyable thriller never takes flight. As career criminal Mason Goddard, Travolta remains smooth and charming as ever, pulling audiences back into his world of daring heists. He’s matched by Kristin Davis as the FBI agent from Mason’s past, the two sharing an undeniable chemistry.

Yet the film stumbles where it should stride. Mason’s latest job is promised to deliver high stakes intrigue, but plays out with all the excitement of a weekday bank run. Conflicts introduce intriguing layers only to fizzle into nothing. Scenes lack cohesion, locations changing without reason. The runtime passes without building urgency or care for any outcome. Even Mason seems bored, content to chat away a hostage negotiation.

Travolta and Davis do their best, but can only shine so bright when given little spark to work with. Fine supporting actors are wasted. Potential for thrills goes begging. Much like Mason’s abandoned criminal life, Cash Out hangs up the gloves having barely thrown a punch.

Fans hoping to see the spark of Travolta’s classic roles may walk away disappointed. Casual viewers will find little to remember. While the idea of Mason’s adventures continuing may intrigue, this installment provides too few reasons to seek out what comes next. Only the most diehard of heist film aficionados need apply their attention here. Cash Out tries to bank on its stars’ name value, but ends up leaving audiences feeling decidedly lighter in the pocket.