The set-up is this: Jamie Foxx plays a Las Vegas cop, Vincent Downs, who’s robbed a huge stash of cocaine as part of an undercover investigation into his own precinct. Determined to get their drugs back, some ruthless gangsters stab Vincent in the gut and kidnap his son as leverage. Meanwhile, Internal Affairs officer Jennifer Bryant (Michelle Monaghan) starts following Vincent around – understandably, she’s taken Vincent’s drug-pilfering antics at face value, and concludes that he’s a corrupt cop. Sleepless is directed by Switzerland’s Baran bo Odar, and the movie initially looks like a solid calling card for a filmmaker making his American debut (Odar’s previous film was the successful Who Am I from 2014). Some unconvincing blue-screen driving sequences aside, Sleepless looks great, thanks to cinematographer Mihai Malaimare Jr, the chap who made Paul Thomas Anderson’s The Master look so lavish. The filmmaking which underpins Sleepless‘ inciting incidents – the initial stash grab, Vincent’s stab to the gut – is crisp and urgent, and suggests that we’re in for a terse, intense slab of action and intrigue. The plot, meanwhile, conspires to undo all that tension within the space of a few minutes. Sleepless is one of those thrillers that requires its characters to do illogical things in order to keep the story on track – vital items are grabbed and then lost again, villains are ruthlessly efficient and absurdly careless the next. The action escalates, as you might expect, but only in its outlandishness – what begins as a thriller set in what feels like the real Las Vegas soon detaches itself from reality so completely that your humble writer half expected a flying saucer to land in the final act. Even at a focused 95 minutes, Sleepless starts to feel longer than it is – probably because so much time is spent following the same characters run round the same locations. After a while, the setting begins to feel less like a casino and more like the Overlook Hotel in The Shining: an inescapable place where all natural laws are suspended.  Its cops and gangsters are doomed to keep running to and fro, putting things in lockers and then taking those things back out of lockers. Getting into fights, escaping from the fights, then getting back into fights with the same person again. Going up a lift to the top floor, then going back down again to the ground floor.   Sleepless, then, is the very definition of a thriller that collapses like a house of cards. But with some decent cinematography, and Foxx perspiring and straining for all he’s worth, it should be noted that, while Sleepless does collapse, it at least collapses in style.