Some films have got excellent concepts, while others have great casts. A few combine both of them with a strong story, excellent writing and an execution worthy of these qualities, which leads to unbridled entertainment. Sneakers is one such film, with the wildly inventive crime comedy directed by Phil Alden Robinson (written in collaboration with name) being one of the most entertaining films of its era, albeit one that has been bewilderingly under-represented in discussions around great comedies of the 1990s, a decade that was often reliant on high-concept storytelling more than anything else. A quintessential film of its time, both in terms of the actors who appear and the specific details that propel the story, Sneakers is a terrific example of what can be done when a film aims to charm both sides of the audience, with those seeking a good time finding it throughout this film, while those looking for a more ambitious set of ideas will be duly rewarded, granted they are willing to demonstrate the patience to work through the initial exposition that is required to situate us in this thrilling world. It’s more of a novelty more than anything else, but Sneakers is a film that knows how to have a lot of fun, with the audience being able to feel the charm exuding off every frame, which is a credit not only to the warmth that the director has often demonstrated throughout his work, but also the most sincere dedication that everyone involved in this production seems to be bringing to the process, leading to a film that may seem minor in comparison to the more audacious works we’ve seen produced around this film, but manages to match every one of them purely on the value of pure entertainment.

In all honesty, it’s easy to just view Sneakers as a star-studded affair that relies heavily on the actors to tell the story, rather than being entirely flawless in execution, which is a regular trend for films that think that throwing together a group of recognizable faces distracts from any narrative shortcomings. However, this film is most certainly the best possible version of this tendency, with Robinson (who is certainly a very good director of populist fare, albeit one that has not often received his due as a solid and reliable filmmaker in his own right) finding the right combination of these various components, reconfiguring them into a format that works, servicing a story that may not be entirely original, but at least warrants our attention through being incredibly entertaining, packing a considerable amount of punch into every scene. When Sneakers hits its stride, it is almost impossible to imagine it stopping – when we’d expect it to become a bit more sedate, it only goes the opposite direction and ventures further into the territory of unhinged ambition, which would be seen as a sign of a lack of restraint had it not been so endearing, and clearly made with a purpose beyond that of simply giving the audience a good time. Like many heist thrillers produced around this time, the film is built on a central mission, with a range of peripheral adventures (or in this case, misadventures) occurring around it – and while this may not always be the most seamless process, it does give us sufficient opportunity to get to know these characters, which is essentially the primary focus of the film, more than anything to do with the actual content of their mission, which becomes secondary after a while.

It’s almost bewildering the number of notable actors that the director managed to convince into appearing in this film, to the point where the opening credits are as awe-inspiring as nearly any of the action-packed sequences in the film. Robert Redford leads the film as the affable Martin Bishop, playing a role that makes use of both his genial leading man charm, and his gradual journey into becoming an elder statesman of cinema, this combination proving that he could still command the screen despite being past his more youthful days. He brings the same genuine charisma and earnest conviction to the role, and always seems to be having a good time, which is imperative to a film like this – and the same sense of dedication is present from the rest of the cast. Dan Aykroyd and David Strathairn are hilarious as the loony conspiracy theorist and blind telephone expert respectively, while River Phoenix was turning in yet another performance that proved what an effortlessly gifted actor he was. Also notably present in the cast (perhaps more than anyone else) was the legendary Sidney Poitier, in one of his final major film roles, as well as the rare comedic performance where his ability to be both respectable and self-deprecating were fully-evident in every frame. Poitier may have been known for his dramatic parts, which makes instances where he is allowed to let loose and have a good time all the more entertaining – and even when appearing in a relatively simple, unchallenging role, he brings a level of commitment most actors would struggle to utilize. The entire cast of Sneakers is excellent, and while it isn’t the defining work in any of the actors’ careers, it is still a terrific addition to their body of work, a chance for the more dramatic actors to take on a comedic role, and for those more versed in humour, they’re presented with the challenge of doing slightly more serious work, leading to a multilayered and very interesting cast.

Part of what makes Sneakers so successful is in this exact combination of comedy and drama – we’ve seen films centred on heists that tend to rely on one or the other, with only a select few managing to blend both of them in a meaningful way. A lot of this comes in the terminology used – the idea of these characters conducting “sneaks” rather than more formal terms lends their mission a sense of levity, and always indicates that they’re in on the joke themselves, rather than having this film be an overly pretentious affair. The film never takes itself too seriously, knowing that the actual narrative itself is beyond ridiculous, and that any attempt to pass this off as in any way plausible would be an insult to the audience. This decision allows the film to flourish on its own terms, being a wildly successful and very funny work, but not one that sacrifices the thrilling content. Audiences tend to consistently respond to films that offer us the feeling of excitement, and the adrenaline that flows in the many elaborate, team-based “sneaks” are sure to enrapture viewers as much as any of the more serious fare that this film seems to be gently parodying. It may not have the most consistently inventive way of conducting these missions (after all, the crucial step in the final attempt is for Redford’s character to walk extremely slowly, which is both very funny and bizarre), but it easily overcomes this through merely being entertaining, which is more than we could possibly expect from such a film.

While it doesn’t break boundaries or shatter expectations, Sneakers is still an excellent film, and a firm reminder that some of the most entertaining films have the capacity to offer a lot of unexpected insight. What it lacks in nuance it makes up for in sheer entertainment, which is probably why this film is a cult classic at best, since it offers very little other than a genuinely enjoyable time. It may not have aged particularly well (since it is focused around technology that has changed in unprecedented ways over the past thirty years), and its humour can sometimes be quite stilted, even if it is admirable in its conviction to never punch down, but rather find the jokes in a variety of places that would not normally lend themselves to much humour. There is a lot of fun to be had with this film, and Robinson never wastes the opportunity to give us something to enjoy – and while it may be predictable at times (since it’s very obvious that there will be a clean and tidy resolution by the end, with very few genuine stakes, by virtue of the fact that a film like this was always going to end with the characters succeeding), there’s very little opportunity to not find enjoyment in this film, which often functions as a simple but effective crime comedy that tempers its tone to fit various moments, and makes exceptional use of its actors, who prove to be the secret weapon to the success of this wonderfully endearing thriller that never takes itself too seriously, and just exists to give us a good time with some famous actors who are all having the time of their lives, which reflects directly onto the overall experience of this charming film.