The opening shot of “Emily the Criminal” is a close-up of Aubrey Plaza’s face, her eyes darting side to side as she swipes a stolen credit card through a reader. It’s a moment of quiet tension that sets the tone for John Patton Ford’s debut feature: a gritty, unflinching look at desperation and the criminal underworld. This isn’t your typical heist movie; it’s a character study wrapped in crime, a film that asks us to empathize with someone who’s made some very bad choices.

Plaza plays Emily Benetto, a young woman drowning in student debt and hamstrung by a felony conviction that keeps her from finding decent work. When she stumbles into a credit card scam orchestrated by the charismatic Youcef (Theo Rossi), she’s drawn deeper into a life of crime, lured by the quick cash and the thrill of breaking the rules. Plaza’s performance is the heart of the film. She brings a raw, unfiltered energy to Emily, making her both relatable and unpredictable. There’s a scene where Emily, after being injured in a scam gone wrong, sits with Youcef as he tends to her wounds. The way Plaza shifts from vulnerability to defiance in that moment is masterful, a subtle but powerful display of acting.

Ford’s direction is confident, particularly in the film’s more tense sequences. The robbery of Khalil’s safehouse, for instance, unfolds with a palpable sense of dread. Ford uses tight close-ups and shaky camerawork to immerse us in Emily’s panic, making us feel like we’re right there with her. The sound design amplifies this, with the pounding of hearts and distant sirens creating an atmosphere of impending doom.

The film also excels in its portrayal of Los Angeles’ criminal underbelly. The city isn’t just a backdrop; it’s a character in itself, its neon-lit streets and seedy motels adding to the film’s atmosphere. Ford’s screenplay is sharp, balancing Emily’s personal struggles with the broader themes of economic inequality and systemic barriers. This is a film that understands the desperation of millennial debt, the frustration of being overqualified but underemployed, and the allure of quick money in a world that feels stacked against you.

However, “Emily the Criminal” stumbles in its pacing. The first half of the film drags at times, bogged down by expository scenes that slow the momentum. Additionally, some of the supporting characters, like Liz (Megalyn Echikunwoke) and Alice (Gina Gershon), feel underdeveloped, serving more as plot devices than fully realized people. Liz’s role, in particular, feels underutilized. She’s introduced as Emily’s childhood friend, but her character arc is cut short, leaving us with unanswered questions about their relationship.

The film’s ending is another point of contention. While it’s satisfying in its own way, it feels rushed, as if Ford couldn’t decide whether to end on a note of redemption or despair. The abrupt cutoff leaves some emotional beats unresolved, which may frustrate viewers looking for a more definitive conclusion. That said, the ambiguity can also be seen as a strength, reflecting the uncertainty and unpredictability of Emily’s life.

“Emily the Criminal” is a flawed but fascinating film, elevated by Aubrey Plaza’s powerhouse performance and John Patton Ford’s assured direction. It’s a gritty, uncompromising look at the criminal underworld that doesn’t shy away from the moral complexities of its protagonist. The film is likely to resonate most with viewers who appreciate character-driven dramas with a dark edge. Fans of films like “Good Time” or “Uncut Gems” will find much to enjoy here, as will anyone who appreciates a strong female lead navigating a male-dominated world.

The film’s themes of economic inequality and systemic barriers are timely and relevant, making it more than just a crime thriller. It’s a commentary on the struggles of a generation, a story about the lengths people go to when they feel like the system has failed them. The film doesn’t offer easy answers or neat resolutions, but it asks important questions and invites us to think critically about the world we live in.

In the end, “Emily the Criminal” is a film that sticks with you long after the credits roll. It’s not perfect, but its strengths far outweigh its weaknesses.