One day, Colin faces a bad path when he finds a dead man, a beautiful woman, and a bag full of money. Cullen seems to be trying to do the right thing while finding himself stuck in a dangerous scheme and trying to stay away.
Almost all the parts of Swerve -- the predictable storyline, thin cast and flaccid action -- feel worn-out and second-hand. They still work, but they're not much fun to watch.
You've got your duplicitous blonde, a briefcase full of money, the hapless patsy, the angry cop, the loose cannon and the speeding train. Everything's so in order that you could doze off and catch up with the plot within seconds of reawakening.
The more narrative wrenches this modern-day noir throws at its characters-notably several literally physics-defying leaps of logic-the less involving it becomes. There are a few too many twists on this highway.
As the title of "Swerve" suggests, there's a lot of driving, and cars and characters veer, though never far enough for either to arrive at some place, some narrative, that's remotely new.
As it zigs and zags, its plot unravels rather than tightens, and its curveball of an ending is bound to leave audiences feeling as double-crossed as some of the characters.
