In 'The Good Thief', an aging ex-con assembles a crew to rob an impregnable casino in Monte Carlo. This is a story that has been told many times before: it bears a certain family resemblance to 'Ocean's Eleven' (either the original Ratpack vehicle or Steven Soderbergh's recent remake with George Clooney and Brad Pitt); and it has an even closer relationship to Jean-Pierre Melville's stylish 1955 film 'Bob le Flambeur', on which it is largely based.

But do not let this apparent unoriginality put you off, as 'The Good Thief' is very much concerned with artistic theft as much as art theft, with the relationship of originals and copies, and with all manner of doubles: double crimes, double-bluffs, double-crosses, and a tricky set of identical twins.

Written and directed by the ever dependable Neil Jordan ('The End of the Affair', 'The Butcher Boy', 'The Crying Game'), the film has an innovative, edgy look, with scenes either slowing down or speeding up at their end. The plotting is intricate but unobtrusive, with a denouement that seems very straightforward at first, but may well give you sleepless nights trying to unravel its miraculous knots.

The central character Bob is a man of contradictions - a gambling junkie lowlife, but also a stylish, elegant high-roller - and there are few actors who could play Bob as credibly, and as charmingly, as Nick Nolte. His rough-edged looks and mature gravitas perfectly suit the role. Nolte is well-supported by Tcheky Karyo as his policeman friend and nemesis Roger, by newcomer Nutsa Kukhiani as Bob's fellow-traveller Anne, and by Emir Kusturica (best known for directing 'Arizona Dream' and 'Underground'), hilarious as the inside man. Even Ralph Fiennes puts in a cameo as a dodgy art dealer.

'The Good Thief' is entertaining, clever, and very very cool. Take a gamble on it, and you may emerge a winner.

Anton Bitel, 09.03.03