Wow, just wow. Where do I begin?
How about with Focus’ absolutely nonsensical and incredibly stupid plot, or its horribly written romance, or how it’s the most misogynistic theater film I've seen in years. The former could have been forgiven in a “so stupid it’s fun” way if the latter two weren't so disgusting. I've seen porn where the females are given more dignity! The most disturbing part of Focus however, is how blissfully unaware it seems to be with its lead female’s treatment.
Focus’ plot is about con-men using an average human’s lack of “focus” to scam, steal and profit. Will Smith plays experienced con-man Nicky Spurgeon with Margot Robbie plays his newest protégé/love interest Jess Barrett, learning the ropes while “developing” a romance with Nicky. After a major scam, Nicky abruptly dumps Jess; three years later, he’s moved on to another big con while Jess has become the target’s girlfriend, having since quit the scamming business. The romance between our two leads feels forced and hastily jump-started; their first time making love happens so quickly (about 10-15 minutes in) I mistook the passion for a mutual one night stand. See if you can spot the large gap in romantic development: Nicky and Jess meet, he teaches her some techniques, they flirt a bit, hook up immediately after, and fall in love. There seems to be a major chunk missing there, which I could forgive were they simply teenagers in “puppy love”; but no, the two are full-grown adults (there’s ages are never given, so it’s completely possible Smith’s character is also in his late forties). Yet their “romance” ends as abruptly as it began, with Nicky inexplicably leaving Jess for…I honestly have no clue (he’s a “complex” character), which leaves Jess heartbroken over losing this scam artist she’s had all of three conversations with.
Then comes part two of the film, where things really start going downhill. After Nicky pulled such an insensitive breakup for no reason, I expected payback via con-man style from Jess. In terms of set-up it makes perfect sense; Jess feels hurt, so she trains her con-art skills for several years to the point of surpassing her teacher. The second half would then consist of Jess outconning Nicky at his own game, thereby getting both payback and having the student become the master. Of course the film doesn’t have to end there; perhaps both get captured by the dangerous man they’re scamming, reluctantly working together to defeat him (while also making dough), while falling back in love during the process. An entertaining popcorn climax with a satisfying development in characters…such ending never happens however. Turns out while Jess hasn’t completely quit the business, she’s demoted herself right back to petite thievery, trying in vain to steal a watch (just a normal fancy wristwatch) from the target Nicky’s scamming millions off. The reveal is played entirely for laughs, practically on the level of a dumb blonde joke, but this isn't what really bothers me. What really got to me is how Jess’s “pretending to be a helpless, naïve dunce in need of a strong man” act isn't an act at all!
During the entire second half, Jess is used on multiple occasions, brought to tears TWICE by Nicky's money-making scheme, and left entirely out of the loop on such scheme (yet yelled at when she unknowingly screws it up). Up to the final minutes I expected it to be revealed an act, playing the part of the naïve damsel as a clever ploy; turns out I’m the one whose naïve, naïve in thinking the film would actually make her a talented con-artist. What was the point in making her Nicky's apprentice when her purpose was only to be his sexy love-interest, all it did was make her a faux-action female…yet believe it or not, Focus gets even more degrading. The film’s greatest offense is when Nicky describes how he manipulated Jess for his plans; he describes a variation of ways women can be easily manipulated for use, such as getting emotionally close to them since “they’re quite sensitive and trusting”. The scene felt straight out of the picking-up women course in the film Magnolia, only here it’s played without a hint of satire.
