It's as if the makers of Takers saw Andy Samberg's spoof song 'Cool Guys Don't Look at Explosions' and thought it was real. Takers paints a glamorous and slick picture of the gangster lifestyle without any hint of sense of irony or shame; bringing together an ensemble of good-looking actors and billing them as a cool breed of criminals that spend as much time picking out their outfits as they do planning their next heist. They stack the money that they rob next to a pile of Details issues, and then use the cash to support their faux-rat-pack lifestyle.

There is a plot that is almost decent enough to hold the film together. It revolves around a mean and lean crew of bank robbers led by the determined Gordon (Elba). They have been successfully robbing banks for a long time; long enough to attract the attention of detective Jack Welles (Dillon), who has managed to identify each member except for Ghost (T.I), the wild-card bandit that just got out of jail.

Ghost pitches the crew a new heist, which promises to be their biggest yet. The prospect of huge amounts of cash tempts even the most honest of the robbers; so as the plan unfolds, members turn against each other, and in turn, they compromise their operation, giving detective Jack the opportunity to track them down before reaping their rewards.

Aside from giving them swinging bravado, Takers attempts to add a little substance to the characters through touching subplots involving their personal relationships and troubled family members. However, these forced efforts at humanising the characters largely ring false and act as a needless distraction from the thrills.

When it comes to what really matters, though; Takers gets it right by keeping a lively pace of gunfire sequences, and although these action set pieces lack ingenuity; they are exciting, swift and frequent.

Takers might act like it’s the coolest kid in school, but the film’s insistence on being cool is more suspicious than reassuring. No film would be that desperate for attention and constantly reminding us of how smooth it is if it didn’t have something to hide, or to compensate for.