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Director: James Gray 
Stars: Miles Teller, Adam Driver, Scarlett Johansson
Distributor: NEON

“We’ll settle this whole thing.”

James Gray’s return to the big screen reunites the stars of Marriage Story, Adam Driver and Scarlett Johansson, alongside Miles Teller in an intense family-centred crime thriller in 1980s New York.

Irwin Pearl (Miles Teller) alongside his wife Hester (Scarlett Johansson) and two kids Scott and Benjamin (Gavin Goudey and Roman Engel respectively), reside in the suburbs of Queens. Irwin lives a modest life as an engineer, though his work car is wrecked and he’s counting the pennies for the college education of his eldest. Realistically, his ambitions are a step too far. In steps his brother Gary (Adam Driver), whose presence is like a WWF superstar of the time – larger than life and a domineering visual, he provides Irwin with a financial opportunity like none other.

Gary, a recently divorced ex-cop, has vital connections all over the city – his latest venture sees him enter the world of sewage waste as he enters business with the Russians. On this occasion, he wants to establish a business with Irwin, where the tradesman of the two brothers can perform as an expert consultant in the trade. Except, the Russians are nervous. When the job isn’t quite what it seems, Irwin seeks the help of his brother who initially got them into this mess. Going forward, Irwin and Gary have to perfect the balance of business and family pride.

James Gray presents a great variety of issues and flaws with paternal pride in Paper Tiger. The back and forth power struggles between Irwin and Gary to determine who is the more masculine figure in the family, and what there is to determine masculinity in this family setting, too. To a degree, Irwin and Gary respectively desire what the other person has, but they won’t admit it.

Given the contrasting backgrounds and characteristics of Irwin and Gary, the way in which they respond to violence and present violence, is incredibly fascinating. Irwin, with a family of his own, will present aggression but from a defensive position and mindset, whereas Gary will go all-out like a warrior with nothing to lose; reckless, even.

Ultimately, what makes these depictions of family ties and masculinity etc. truly work, is that of Scarlett Johansson’s performance as the mother, wife, and sister-in-law, stuck in the middle of it all. Clearly the only adult to provide both stability and normalcy, Linda not only has to deal with her teenage sons causing havoc, but the contrasting frustrations provided by brothers Irwin and Gary, as well as her own health issues. Her position and stance often suggests a middle-point between Irwin’s blue collar pride and Gary’s professional career.

Ultimately, Paper Tiger is a terrific achievement in its depiction of family life and social class, and its dangers, in 1980s New York. This is a film that is successful in establishing its 1980s New York setting without feeling false or over-stylised. With three excellent and believable central performances, Paper Tiger is heavy, hearty, fierce, and often unpredictable.