Directed and co-written by Ariel Vromen. A runtime of one hour and thirty-six minutes with an R rating.

The year is 1992. "Mercer Bey," played by Tyrese Gibson, is a triple OG. If you don't know what that means, it just means he's a seasoned gangster. He's been around the block more than a few times.

"Mercer" recently got out of prison six months ago. He has a job that was given to him by a retired police officer and now head of security, "Joseph Francis," played by Michael Beasley.

"Mercer," on top of just trying to get on his feet, recently got full custody over his son "Antoine," played by Christopher Ammanuel. All "Mercer" wants is to keep his son on the right path and not follow in his footsteps, whether he likes it or not.

"Riggin," played by Scott Eastwood, and his little brother "Dennis," played by Dylan Arnold, are trying to pull off a heist with "Riggin" war buddy "Copeland," played by Clé Bennett. The only thing is they need approval from "Riggin" and "Dennis" dad, "Lowell," played by Ray Liotta.

"Lowell" runs the crew, and after casing the potential Job "Riggin" setup, he shuts it down. But today the verdict from the Rodney King trial is in. After the officers were found not guilty, Los Angeles erupted. This was the perfect distraction to pull off the heist.

"Lowell" adds two more men to the crew: "Titus," played by Oleg Taktarov, and "Murphy," played by Ori Pfeffer. Watch "Mercer" try to keep his son safe during the LA riots while "Lowell" and his crew attempt to pull off a massive heist. Oh, did I forget to mention their trying to rob "Mercer" job! In this powder keg of a day.

"1992" was a unique film with a wild concept. Tyrese said that originally it was supposed to be a straight-to-streaming film. But Snoop Dogg became a part of the project, and the trailer had a massive amount of views. They decided to change course and not only give it a premiere but a theatrical release.

Tyrese might be on your social feed a lot for reasons other than film or music. But this film brought you back to why Tyrese is an actor in the first place. He's talented. His character "Mercer" didn't have long monologues to showcase his acting talents. Regardless, Tyrese embodied this role. Pulling it off effortlessly.

I thought Ray Liotta's last film was a couple of films ago. I don't know what his actual last film will be, but it was great to see him on the big screen again. Scott Eastwood and the rest of the cast played their parts well.

I could see why this was a straight-streaming film at times. Ariel Vromen wrote a decent script, but there were some glaring holes. The ending was also kind of flawed. It was at least not what I expected. Ariel's vision was interesting, to say the least. You could tell where Snoop Dogg laid his hands in the pot.

I enjoyed this film and thought they made the right decision to put it in theaters. I loved that they sprinkled in a little bit of Tyrese heritage being from Watts. I'm probably going to check out the soundtrack as well. As a side, I would like to see a film strictly done on the LA riots. I give this film four mor fires ????. RIP Ray Liotta #CosmoandtheMovieWithin #CosmoMovieBlog #CosmoLanier #1992.

This movie captures various themes and genres. At some point or another the movie is a heist movie set against the backdrop of the Rodney King riots of 1992. Along the way it's also a coming of age movie, an exploration of father-son relationships, and race relations.

Having seen the movie in a theater, to be fair, the movie has the cast, look, and feel of a better than average straight-to-streaming movie. The fact that it was given a "limited theatrical release" might just be giving the movie too much credit.

Tyrese Gibson, who plays a convincing father and "OG Merc" back in the day, finds himself thrust in the middle of a heist of valuable platinum bars, led by Ray Liotta (in his final film) at his villainous best.

What on first blush is an engaging heist movie rapidly evolves into a movie extremely derivative of "Die Hard" - nearly plot point by plot point. Not that this is necessarily a bad thing, but it does become quite formulaic.

Of course, the heist "crew", as always, includes "the muscle guy", the "smart" leader guy (Liotta), and the "clueless reluctant impressionable" guy (almost always related to the boss/leader) that you wonder why he was even brought along on the job in the first place.

A key plot point is that Gibson is bent on bringing his son to his workplace factory after-hours to "distance themselves" from the riot mayhem. What were they going to do? Spend the night there? Why not drive out of town altogether? I felt that was a fairly weak contrivance.

If you're a fan of Gibson and/or Liotta I think the movie would meet your expectations. Giving the movie a "10" (as others have done) is inexplicably generous.

Either that or they're in need of seriously broadening their horizons.

10 stars? Calling it a "Perfect" film?

To rank this alongside The Godfather, Schindler's List, Blade Runner, A Clockwork Orange, Apocalypse Now or even The Lord Of The Rings is the equivalent of walking into Mordor and we know that "one does not simply walk into..." I digress.

Let's talk about this latest effort by Ariel Vroman to convince us that he is a serious film-maker.

After delivering a blistering array of career low films for Costner and Oldman (Criminal), Marisa Tomei (Danika) and the thrilless Toby Kebbel (Angel) we have finally been given the long delayed 1992.

Vromen has turned his attention to a historically and culturally significant moment in Angelino lives, April 29th 1992 and delivered what can only be described as screen flatulence in the form of a weak heist film that all but ignores the gravitas of its setting entirely.

A younger cast is meant to give us the impression that this is a vibrant, fresh take on a well trodden path, but Gibson and Eastwood do their best with a pedestrian and predictable script, whilst the late, great Ray Liotta is buried ignominiously with the lines "I did the best that I could son. But it wasn't enough".

And it isn't enough. Not enough thrills, invention, originality, style, character, humor, depth or even sense. Convoluted at times and blunt to a fault at others, this is yet another ham-fisted effort to waste our time, some poor investor's money and the goodwill of all the people roped into making accounts just to give it 10 stars, all in the vain hope that we might mix Vromen in with his Israeli counterparts; but Avi Nesher, Amos Gitai and Joseph Cedar he is not, unfortunately he's not even in the Menachem Golan and Yoram Globus league as whatever we may think, they at least found an audience.

And this the main issue with 1992. Who is it for? Fast and Furious polish without the camp over the top action, Goodfellas violence without the gritty impact and Hip Hop sentiment but with a vanilla milkshake to wash it down.

1992 tries to be all things to all people and comes up short every time. Too slight yet too garish, it somehow manages to fall in that most terrible place, the absolute middle.

You want a heist movie with a crazy backdrop take your pick from The Italian Job (1968) or Heat (1995). If you want something closer to 10 stars grab The Usual Suspects. But whatever you do, save this film for when you've seen all the rest.