It’s a cinematic flatline.
premise, if little of that masterpiece’s spirited idiosyncrasy. In an unnamed desert town that’s as generic as its inhabitants, Jay Moore keeps his low-rent sandwich shop afloat by procuring expired meats from convicted sex offender Tommy T in exchange for pedophilic pornography.
This is an obvious and risky violation of Jay’s franchise agreement. More pressing still, it’s an arrangement that doesn’t sit kindly with his spouse Maggie , who discovers her husband’s illicit material and promptly throws him out of the house and threatens to call the cops. With divorce looming, Jay is in desperate straits. To sort out his situation, he opts to do the nastiest thing imaginable: hire a hitman to kill his wife.
Tommy T connects Jay with Kosco , a burly, deaf assassin who accepts the job and then executes it without hesitation. Naturally, Jay becomes an immediate suspect in this crime. With the walls closing in on him, providence arrives when he visits his local pharmacy and hears from the cashier —via chitchat about his rewards program—that another Maggie Moore lives in the same neighborhood.
The fly in Jay’s ointment is police chief Jordan Sanders , a lonely widower who writes about his feelings in an adult-school night class and puts up with the insensitive jokiness of his partner deputy Reddy —although in a recurring instance of cognitive dissonance, Jordan puts down Reddy’s inappropriateness even though the cop’s mild comments are far from offensive.
Jordan and Rita have exes who loom large over their present circumstances but the film never makes them feel like anything other than rickety plot devices, probably because its protagonists themselves are just slim archetypes: the wounded-soul cop and the girl who teaches him how to find happiness .
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