Cannes Review: James Gray’s Paper Tiger Is a Skillfully Crafted, Inherently Subtle Story Set in New York

      James Gray has ventured beyond the familiar confines of native New York, which he depicted in the first two decades of his career, directing Charlie Hunnam, Robert Pattinson, and Tom Holland into the Amazon for The Lost City of Z and sending Brad Pitt into space with Ad Astra. With his earlier film, Armageddon Time, the seasoned filmmaker—known for his deeply humane screenwriting, subtle yet impactful storytelling, and cinematic explorations of his birthplace and Jewish-Russian heritage—returned with a family drama suitable for even the most tender-hearted viewers. In his latest work, Paper Tiger, he revisits the foundations laid in his first three films (Little Odessa, The Yards, We Own the Night): gritty crime tales rooted in the mob-infested underbelly of the Empire City.

      Gary Pearl (Adam Driver) is a divorced, retired NYPD officer who uses his connections within the powerful and dubious municipal system to earn significant profits as a security consultant for clients willing to pay. He’s the kind of self-assured, deal-making socialite capable of effortlessly arranging for Peter Luger to deliver a porterhouse for six to the suburbs of Queens, just a few miles from where Gray grew up in Flushing. Meanwhile, Gary’s civil-engineer brother Irwin (Miles Teller) leads a more modest family life with his wife Hester (Scarlett Johansson) and their two teenage sons Scott and Ben (Gavin Goudey and Roman Engel). This is a Jewish family that isn’t involved in or seeking out trouble.

      However, Gary’s identity, wealth, or influence across the city becomes irrelevant. A new chapter of mob life is emerging amid the Cold War in 1986 south and central Brooklyn, as the Russian mafia floods in to brutally impose a new order of respect and power that supersedes the NYPD, the traditional Italian mafia, and other influential figures secretly controlling the city. The Russian mob nullifies the socio-political dynamics of the '60s and '70s in which Gary still operates. Yet, he’s too entrenched in the old ways to recognize that this paper tiger is not actually made of paper but rather constructed from an unyielding steel he cannot comprehend.

      Irwin struggles to stay clear of his brother’s shady business dealings, but Gary's slick confidence and charm make it difficult for Irwin, who seems to have spent his life yielding to Gary’s whims, often sweetened with gifts (like a new car or $10,000) and Gary’s endearing nature that is hard to turn down. Still, Irwin’s demeanor reveals that he is inexperienced with mob dealings—until Gary approaches him with a proposal for an engineering project to clean the Gowanus Canal, Brooklyn’s most polluted waterway for over a century. The hitch? The Russians have taken it over.

      What begins as a friendly arrangement between the brothers and the Russians spirals into chaos when Irwin innocently visits the canal one night with his sons to introduce them to his profession, only to stumble upon goons dumping oil. This incident triggers a series of problems only resolvable through ruthless mob boss Simeon Bogoyavich (Victor Ptak). Meanwhile, Hester faces sudden health issues that jeopardize her vital role within the Pearl family. The result is a carefully crafted, character-focused, quintessentially subtle mob film from James Gray.

      Filled with familiar sights of south and central Brooklyn, featuring iconic eateries, bars, and neighborhoods—something any New Yorker or admirer of the city will surely appreciate—Paper Tiger might not achieve the heights of Gray's previous works in a similar setting (with The Yards still holding top honors, followed by We Own the Night), but it remains a captivating watch. The film nurtures rich characterization, touching drama, and intense tension that prompts reflection on these characters, their environments, and the world we inhabit, leaving a raw impact as if everything, down to the last detail, is drawn from actual history.

      Driver, Teller, and Johansson shine under Gray’s direction and his exceptional screenplay. Joaquín Baca-Asay—returning after working on We Own the Night and Two Lovers—offers a captivating vintage aesthetic that highlights Gray’s retro directorial style (essentially the antithesis of a Netflix film). The costumes and sets resonate as more found than fabricated, thanks to the contributions of costume designer Amy Roth and production designer Happy Massee.

      That said, a few aspects feel unfinished. Scott Morris’s editing might benefit from an additional review, as some sections come across as sluggish. Though the conclusion is compelling, it appears somewhat derivative, echoing scenes from a highly influential crime film and almost mirroring Gray’s own work. Nevertheless, Paper Tiger is a valuable addition to Gray's filmography, holding the potential for further growth. The director truly excels in narrating New York tales.

      Paper Tiger premiered at the 2026 Cannes Film Festival and will be distributed by NEON.