Shadowy figures circle a glass-walled house. They locate an opened entryway and enter; once inside, they set out straight toward the room. Sleigh Bells’ “Crown on the Ground” scrunched guitar and speaker-destroying drums kicks in. The figures’ appearances are presently obvious; they’re secondary school kids a few young ladies and a kid. They open the entryway of the room storage room and begin snatching pieces of jewelry, shoes and satchels.
This is the main scene of “The Bling Ring,” Sofia Coppola’s unvarnished and sporadically risky record of a series of thefts conferred by LA young people in 2008 and 2009. The opening credits recognize “The Bling Ring” as “in light of real occasions,” rather than utilizing the more normal expression “taking into account a genuine story”; this may appear like a minor refinement, yet it’s an essential one, since “story” suggests a specific structure and perspective. Coppola’s way to deal with the subject is to a great extent unbiased; contingent upon the viewer, this can appear to be invigorating or off-putting.