REVIEW: ‘Saint John Of Las Vegas’

“Saint John of Las Vegas” starts off with Steve Buscemi awkwardly hitting on a convenience store clerk while filling up his car on pump number “lucky seven.” This scene is parsed throughout the film and ties the story nicely, unfolding the development of his ne’er-do-well character. As John Alighieri, Buscemi plays a likeable, fast-talking recovering gambler trying to piece together a humble life in Albuquerque. John works in a cubicle processing auto insurance claims until one day he is given the chance to be promoted to fraud investigator. All he needs to do is take a road trip to Las Vegas and investigate a claim filed by a stripper, who was suspiciously rear-ended.

John and his partner Virgil, played by comedy veteran Romany Malco (“Weeds”), embark on the most surreal journey I have seen in a reality-based film since Martin Scorcese’s “After Hours” (1985). Their encounters with a carnival “flame lord” (whose suit keeps malfunctioning) and a hippie commune full of naked cowboys are as original and funny as any scene in which Buscemi has appeared. That is saying a lot since Steve is a favorite of the film Gods.

John’s girlfriend is played by Sarah Silverman, who is the boss’ former squeeze and works in the cubicle beside him. She is obsessed with yellow smiley faces and giddily calls John on the road from her bedroom decorated with a unicorn poster and stuffed animals.

First-time director Hue Rhodes avoided being a show-off and let the camera play a supporting role to the great Mr. Buscemi. Rhodes knows that a good Indie film is built on subtleties, finesse, and a good script. The story Saint John of Las Vegas is about the little things in life that make you happy. This film is one of those things.