Heist pictures clash with rom-coms in a potent Poker Face

One of the common traits of the great modern pulp filmmakers—like Quentin Tarantino, Shane Black, and, yes, Rian Johnson—is that whatever they steal from the popular culture they love they then convert into work that feels personal and distinctive, not derivative. Sure, their characters sometimes talk like they learned English from Donald Westlake and Elmore Leonard novels. But beneath all the bluster and patter, they’re actually saying something: about who they are, about what they want, and...