Plainclothes - Review from the 2025 Sundance International Film Festival

      Plainclothes, 2025.

      Written and Directed by Carmen Emmi.

      Featuring Tom Blyth, Russell Tovey, Amy Forsyth, Maria Dizzia, Christian Cooke, Gabe Fazio, John Bedford Lloyd, Alessandra Ford Balazs, and Sam Asa Brownstein.

      SYNOPSIS:

      An undercover agent, tasked with ensnaring and apprehending gay men, becomes emotionally conflicted when he falls for one of his targets. Writer/director Carmen Emmi’s thriller, Plainclothes, presents a gripping premise: an agent who specializes in blending in to attract potentially gay men follows them into public restrooms to catch them in compromising situations. However, the agent, who is himself gay, begins to lower his defenses with one target, finding himself anxiously eager for a connection.

      The narrative aims to balance the moral dilemmas faced by Lucas (Tom Blyth, who has recently succeeded in major productions like the latest installment of The Hunger Games) and his interactions with the older, anxious yet wise Andrew (a nuanced performance by Russell Tovey) while maintaining his arrests. Theoretically, this could create a rich vein of character-driven tension. Yet, the screenplay takes a straightforward path, putting Lucas on a temporary leave since most gay men now recognize his photo and know to steer clear of him. Andrew, oblivious to this, creates an initial sense of plausibility that ultimately stretches believability, particularly once the stakes of his secretive sexual endeavors are illuminated.

      Instead, Plainclothes shifts toward exploring family dynamics, with Lucas mourning his father’s passing while gradually revealing to those close to him that he has split from his girlfriend, Emily (Amy Forsyth). Simultaneously, his unreliable uncle Paulie (Gabe Fazio) is estranged from his family and is now leeching off Lucas's mother. As Lucas navigates these issues, including a burgeoning romantic friendship, his recollections of childhood with his father are displayed through home-movie style clips. Although Lucas confides in his ex-girlfriend about possibly being gay, he wrestles with shame and paranoia about his family’s reactions, particularly that of his father.

      One notable critique is that Carmen Emmi’s use of home-movie footage becomes overwhelming, losing its potency through overuse. As Plainclothes unfolds, the excessive visual style starts to feel like a substitute for genuine suspense. Nonetheless, the relationship scenes between Tom Blyth and Russell Tovey are heartfelt, sensitive, and erotic. Andrew may not openly express his sexuality, but he helps Lucas navigate the intricacies of casual encounters, all while firmly rejecting the idea of deeper commitment. The film is at its most compelling during these interactions, diverting from the less engaging family strife.

      By the time Plainclothes attempts to adopt a thriller aspect, it seems to do so more as a duty than as a result of authentic character development. The finale is oddly exaggerated in its effort to provide emotional closure. The 'plain' aspect of the title holds true.

      Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★ ★

      Robert Kojder is affiliated with the Chicago Film Critics Association, Critics Choice Association, and Online Film Critics Society. He also serves as the Flickering Myth Reviews Editor. Check here for new reviews and follow my BlueSky or Letterboxd.