As anyone who watched a crime movie in the post-"Pulp Fiction" wave knows, subverting linear storytelling was a hallmark of every film that immediately followed. So "Catch .44" doesn't just start with one flashback, it starts with two. First we get a brief moment with a voiceover by crime lord Mel (Bruce Willis) before we flip back to the sequence around which the rest of the movie will orbit. A trio of gals -- Tes (Malin Akerman), Kara (Nikki Reed) and Dawn (Deborah Ann Woll) -- are sitting in a diner at 3 AM waiting for their mark who will kick start their latest job for Mel. Before we find out who or what that is, Harvey makes us listen to a rather tedious dissertation by Tes about "faking it" and not just sexually. This is one of those dialogue bits that writers and directors forever try to emulate out of the Tarantino handbook, trying to make the mundane sound profound. Few ever succeed, and Harvey doesn't here. Anyway, when that's over, guns are drawn shots are fired and someone dies! You know what that means -- it's time for the movie's title card and then another flashback to show how the night began and how these girls wound up in so much trouble.
But if there is one area in which the film succeeds, and its with the soundtrack. With songs from Sweet, David Bowie, The Kills, Viva Voce, The Raveonettes and Joe Williams (and also Bruce Willis contributing his version of "Respect Yourself"), it's a pretty good mix of tunes. But too bad Harvey thinks that simply by placing them over scenes that his job is done. It's one thing to curate a good selection of songs, it's another to know how and when to use them and unfortunately there is little rhyme or reason to when they appear, why they appear or what they to do in relation to what is going on in a scene. But if there is one thing Harvey loves to do, it's pump up the soundtrack and film tracking shots from behind as somebody walks up a staircase or through a winding hallway. He must have watched that Copacabana scene from "Goodfellas" a thousand times.