Too much plot (in a good way) with twists aplenty, from Patton Oswald’s hapless knife-in-foot to the way the prison librarian drops the name Alan Furst just before Raylon’s dad slits his throat, you could mistake this stuff for Elmore Leonard himself. It’s as if Graham Yost not only internalizes the voice, mood, creep and suspense of the novelist’s finer traits, but the larger psychological backstory of his dialogue’s characters.
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