As a director, newcomer Frank E. Flowers shows a flair for visuals and characters, but as a writer, he needs work. The Tarantino-esque nonlinear structure he employs would be risky even in Quentin’s hands, and is downright self-sabotaging here. After setting up a mixture of corporate intrigue and family drama, with a money launderer (Bill Paxton) and his alienated daughter (Agnes Bruckner) on the run from the feds in the Cayman Islands, Flowers abruptly stops that story, and doesn’t get back to it for almost an hour. Suddenly, we’re focused on lovelorn fisherman’s son Orlando Bloom and his West Side Story–like romantic troubles. By the time that story line finally ties back to the original, and even then only tangentially, it’s hard to care about the previous characters. Stephen Dillane steals a few scenes as an amusingly corrupt lawyer, but Flowers focuses instead on Bloom and his shape-shifting burn makeup. LUKE Y. THOMPSON