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"&lt;wm:embed type=\"related\"&gt;&lt;/wm:embed&gt;&lt;p&gt;Why would Ridley Scott, who usually works in the epic mode of &lt;em&gt;Gladiator&lt;/em&gt; and &lt;em&gt;&lt;a href=\"../../../movies/reviews/black-hawk-down-20020104\"&gt;Black Hawk Down&lt;/a&gt;&lt;/em&gt;, direct an intimate character piece about two L.A. con men? Maybe because the script, by Nicholas and Ted Griffin (&lt;em&gt;&lt;a href=\"../../../movies/reviews/oceans-eleven-20011213\"&gt;Ocean&amp;apos;s Eleven&lt;/a&gt;&lt;/em&gt;), springs so many juicy comic and dramatic surprises. Nicolas Cage is at the top of his game as Roy, a scam artist with more tics than a picnic blanket. He counts to three before entering a room. His worried partner, Frank (Sam Rockwell), sends him to a shrink (Bruce Altman), who thinks Roy needs to get in touch with Angela (Alison Lohman), 14, the daughter he&amp;apos;s never seen. It&amp;apos;s not as warm and fuzzy as it sounds. There are dangerous curves ahead. Credible? Not really. But Cage and Rockwell play off each other with devilish finesse. And Lohman (&lt;em&gt;&lt;a href=\"../../../movies/reviews/white-oleander-20021008\"&gt;White Oleander&lt;/a&gt;&lt;/em&gt;) is on fire &amp;#x2014; she&amp;apos;s a comer. No fair spilling secrets. But Scott, as he proved in &lt;em&gt;Thelma and Louise&lt;/em&gt;, knows how to build suspense you can also take to heart.&lt;/p&gt;"^^<http://www.w3.org/2001/XMLSchema#string>
<http://www.rollingstone.com/movies/reviews/matchstick-men-20030908>