The first teaser trailer for director James Gray’s “Paper Tiger” has been released by NEON (the company distributing it). Miles Teller (“Whiplash”, “Top Gun: Maverick”) and Adam Driver (“Marriage Story”, “Ferrari”) play brothers. The crime drama, written by Gray himself, has Scarlett Johansson in a prominent role.
Set in 1980s Queens, New York. The story follows Gary Pearl (Driver), a former police officer, and his younger brother Irwin Pearl (Teller), an engineer. When Irwin drags them into a financial scheme that crosses paths with the Russian mafia, their family bonds and safety are pushed to the limit. Johansson plays Hester, Irwin’s anxious wife.
The project marks an on-screen reunion for Driver and Johansson following their acclaimed work in Noah Baumbach’s “Marriage Story”.
“Paper Tiger” originally premiered at the Cannes Film Festival in May. It is slated to serve as the opening-night film for the New York Film Festival on September 25. NEON will premiere the film in limited theatres in the U.S. on November 13, with a nationwide expansion on November 20.
Critical response at the Cannes Film Festival for “Paper Tiger” was largely positive, with a roaring 10-minute standing ovation. While a few critics found the tone or plotting polarising, the consensus positioned the film as a standout, bruising, and high-stakes addition to James Gray's New York crime filmography.
James Gray's tight directorial control was heavily lauded. Pete Hammond from Deadline called the film "superbly crafted," noting Gray's unique skill in twisting standard crime-genre tropes into a "pulse-pounding" and fresh experience. Writing for TIME, Stephanie Zacharek noted that the film avoids the "rigid box" of standard thrillers. Instead, she praised it as an "old school" portrait of familial isolation and sibling loyalty that gently builds wrenching tension.
The central cast drew major praise for elevating the script. David Rooney from The Hollywood Reporter dubbed “Paper Tiger” a drama of "immense emotional power," showcasing the core ensemble at their absolute best. Reviewers also highlighted Christopher Spelman’s unsettling, heavy score and Joaquín Baca-Asay's moody, gorgeous 1980s New York cinematography.
