Written and directed by Oren Uziel, the story begins on a Friday morning. Andy (Rainn Wilson) is on the run with a bag of money. He’s being pursued by two police officers (Benjamin Walker’s lifeless Zeke, Adam Pally’s sassy Reed) and two FBI agents (played by Rob Corddry and Ron Livingston, unamused and unamusing). Within the first two days, we get the fragments of a story: Andy and Zeke are brothers, which makes hunting for Andy days before a bit more complicated; a bank owned by a judge (John Michael Higgins) has been robbed by Andy and previous hometown hero Ed (Wyatt Russell), the latter of whom is married to a quiet woman named Steph (Stephanie Sigman, struggling to make her slippery character interesting). There’s a tragedy in the past that’s hinted at, involving a meth lab explosion and the death of Ed and Steph’s five-year-old son, which provides a dark element the movie can’t tie into its less serious shenanigans. By the time that Uziel’s twisty script takes us to the robbery, we encounter plenty of dopey criminals and bad cops, but rarely a laugh or amusing detail. Just as the heavily desaturated title location lacks charisma, so does this project.

By design, Uziel's script has a curious way to add dimension to exposition, of which this movie seems wholly comprised. I applaud how Uziel builds new relationships with each different day, and how each day ends in an unexpected places, only to begin the morning before somewhere random (with characters waking up abruptly, as if awoken from the darkest dream). In each day, big characters are killed off offering some semblance of a climax, even if we're aware of their fate. We still get the beats of their own realizations and actions, just not in the way they experienced them.

Throughout, though, this is the busy screenwriter equivalent to spinning plates while balancing on a unicycle; it takes concerted effort to pull off, but it doesn’t change the fact that the item being juggled is still just a plate. And if I told you the narrative in chronological order, you’d reply, “OK, so?” Looking at it in the movie’s assembly, it’s a whodunit; but chronologically, after you’ve watched the whole thing, it’s just the inevitable collapse of a half-wit plan, unable to make its dark turns of events glisten.