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Broke, bloody and liquored up, Dom shows up at his daughter's doorstep hoping she'll welcome him with open arms. But Evelyn (Emilia Clarke of "Game of Thrones" as a redhead), now living with her significant other and their son, is less than impressed with her father. And so begins his quest to win back her affection, while dipping back into a life of crime to try to make a bit of change. Luckily, he's still an expert when it comes to opening safes.

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A temperamental, egotistical, British ex-con with a soft side for the daughter he left behind, Jude Law is magnetic as the title character in "Dom Hemingway," an amusing tale of vengeance, debauchery and redemption told stylishly by writer-director Richard Shepard.
Dom is introduced shirtless while delivering a verbose rant about his genitalia, which he likens to titanium, a Renoir or Picasso painting, a Nobel Prize winner, a cheetah, lightening and more. Few outrageous comparisons are spared.

Dom is one of Law's richest roles yet. He packed on an extra 20 pounds and rocked thick lamb-chop sideburns for this one. He's brazenly comical, absurdly grimy and believably brawny. But at times, his Dom is ridiculously unsympathetic. We're with him when he bloodies the face of a man who romanced his wife during his jail sentence. But when we discover that man cared for her as she died of cancer, it's impossible to continue to applaud his assault.
 me violence and drug use." Running time: 93 minutes. Two and a half stars out of four.


His speech could be seen as a pathetic attempt at a pick-up technique, except he's so puffed up. It's clear he could care less whether anyone agrees with him or not — and his delusion is hilarious. His monologue sets the outlandish tone for the film, where Dom, a safecracker, believes he's irresistible and indestructible.
Fresh out of prison after serving 12 years, so reads the first of many chapter cards, Dom is more than ready to make up for lost time. After binging on booze, cocaine and hookers, he and his partner-in-crime, Dickie Black (an amusingly dry Richard E. Grant), head to the lavish home of his boss, Mr. Fontaine (the equally charming and ruthless Demian Bichir). Dom refused to rat out the crime boss and he's come to collect for his good deed. But before he can walk away with his hefty gift, a brush with death — effectively displayed in slow motion — leaves him empty-handed.

Jude Law plays DOM HEMINGWAY, a larger-than-life safecracker with a loose fuse who is funny, profane, and dangerous. After twelve years in prison, he sets off with his partner in crime Dickie (Richard E. Grant) looking to collect what he's owed for keeping his mouth shut and protecting his boss Mr. Fontaine (Demian Bichir). After a near death experience, Dom tries to re-connect with his estranged daughter (Emilia Clarke), but is soon drawn back into the only world he knows, looking to settle the .

"I tried yoga, the inspirational CDs, but the anger's still there," he says ruefully. But he can't help himself. On a jaunt to the South of France to meet crime lord Mr. Fontaine (played by Demián Bechir, having some broad fun), Dom takes a shine to the Russian mobster's pneumatically gifted trophy companion Paolina (Madalina Ghenea), which leads to some temporary awkwardness. Although he initially presents himself to Fontaine as "a petty serf, with good hair, and a strong liver," once he's got a few drinks in him, the ace safecracker is apt to start strutting about proclaiming "I'm Dom Hemingway" and making an unspeakably profane scene. However, Shepard's a writer of pretty distinct cleverness, and he does not take this face-off to any place immediately predictable.

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Dom’s language exceeds his grasp. Released from prison, his first order of business is to find the man who married his late wife and to pulverize him. His second order of business is to go to the pub and lament what he just did. (“I got anger issues,” he whines to his longtime friend and partner Dickie, played with loyal, touching reserve by Richard E. Grant.) When a grateful former employer sends Dom two prostitutes to welcome him back to the free world, Dom proudly announces that he’s disappearing for three days into a coke- and sex-fueled binge. Afterwards, he once again comes back remorseful. (“I did too much, Dickie. I made up for too much lost time. I fucked myself to death.”)

And so it goes with Dom Hemingway, and with Dom Hemingway. Shepard’s style here is to give us bursts of music and color and emotion, punctuated with moments of exquisite, dreamlike imagery, and then to pull back — a cinematic corollary to Dom’s seesawing world of cock-of-the-walk anger and Sunday morning regret. Dom’s self-destructive ways begin to get even more troublesome when he and Dickie head to France, to meet with Ivan Fontaine (Demian Bichir), the crime lord whom Dom refused to rat out to the authorities, and to get the money that’s owed them; Dom may be a loyal soldier, but he’s also a mouthy soldier: When he starts to make fun of Mr. Fontaine’s full Russian name (“Is Ivan short for Ivana?” “Anatoly? Anal-tolly?”), we know things aren’t going to end well.

Dom's gutter eloquence has a touch of the poetic, and he's a beast with a beating heart. A notorious safecracker, he has just served 12 years after refusing to rat on his boss, and he now wants his reward. So after a three-day bender of hookers and cocaine, he teams up with his old crony Dickie (Richard E. Grant, playing the straight man for once) and drives up to the villa of the sinister Mr. Fontaine (Demian Bichir), who pays his debt to Dom by gifting him with nearly a million pounds.

 But then, thanks to more drugs and a car accident, Dom loses the money, and this sets up the film's ingeniously karmic, yin-and-yang version of a crime-caper plot. As Dom attempts to reconnect with his daughter (Emilia Clarke), his luck keeps jerking back and forth, and the movie whiplashes between freedom and violent desperation, with each twist really asking, Does Dom deserve to get what he wants? Law makes Dom a brilliant contradiction. He's a piece of pond scum with a sense of honor, a bad man and a good man. And the question of which side will rule turns Dom Hemingway into the most mesmerizing drama of British lowlifery since Sexy Beast.