In 1997, Matt Damon and Ben Affleck became household names with Good Will Hunting, a film they wrote together that won them an Oscar and launched careers that have remained intertwined ever since. Five years later, Joe Carnahan announced himself with Narc, a gritty police thriller that demonstrated his ability to find humanity in the muck of law enforcement. Now, all three have long since settled into comfortable grooves—Damon often playing the capable everyman, Affleck the charming rogue, Carnahan bouncing between winners (The Grey and Boss Level) and misfires (last year’s bewildering Shadow Force). The Rip brings them together in a crime thriller that finds everyone operating at a higher gear than expected.

Truth be told, I wasn’t expecting much. The impressive compensation package Damon and Affleck’s Artists Equity production company inked with Netflix seemed like it might be the most interesting thing to discuss. I was wrong. Carnahan has co-written an ace screenplay, inspired by true events from a friend who supervised a tactical narcotics squad in Miami. And he’s directed the film with a meticulous eye for detail and ear for authenticity.

A brutal death opens the film and sets the tone: the murder of a beloved captain has gone unsolved for six weeks, leaving Miami’s Tactical Narcotics Team restless and frustrated. When a mysterious tip leads them to what they believe is a routine bust, they instead discover millions in cartel cash hidden in a derelict stash house. You’d think this was good news.  Far from it. Miami law requires that seized money be counted on-site, which means they can’t leave. And someone on the inside is definitely coming for that money.

Lt. Dane Dumars (Damon, The Martian) has just been promoted over his longtime partner and friend Det. Sgt. J.D. Byrne (Affleck, Gone Girl). The shift in their dynamic—from peers to boss and subordinate—creates friction that the discovery of millions in cash only intensifies. Both actors are playing against type here, and it doesn’t feel like a calculated stretch. It’s just the right role in the right script at the right time. Affleck, who has embraced more flamboyant characters since The Last Duel, brings volatility to Byrne. Damon counters with restraint, letting suspicion flicker across his face in ways that keep you guessing about everyone’s motives.

Steven Yeun (Nope) is terrific as Detective Mike Ro, a crew member who grows suspicious of his leaders while potentially hiding something himself. Kyle Chandler (Anniversary) brings his trademark decency to a DEA officer, and martial arts star Scott Adkins (John Wick: Chapter 4) takes a buttoned-down role as Affleck’s brother, an FBI agent investigating the captain’s death. I believed the two could be siblings, and it’s refreshing to see Adkins show off his dramatic range rather than his fists.

Oscar nominee Catalina Sandino Moreno (Silent Night) and all but assured future Oscar contender Teyana Taylor (One Battle After Another, A Thousand and One) round out the crew, while Sasha Calle (The Flash) continues to make an impression on screen as the homeowner caught in the middle. I wish the female characters were given as much dimension as the men—Carnahan has always been something of an American Guy Ritchie, skilled with rock-’em-sock-’em male vehicles but less successful drafting women with depth.

Much of the film’s success belongs to cinematographer Juanmi Azpiroz and editor Kevin Hale. Azpiroz shoots the heat-streaked Florida nights and hazy days with skill, always providing a sense of place even in the darkest scenes. Playing with shadows and what might be hiding in clouds of smoke is key to building tension, and Azpiroz frames it all beautifully. Hale’s editing maintains suspense without resorting to misdirection, facilitating rather than manufacturing the forward motion Carnahan and co-writer Michael McGrale built into their script. Clinton Shorter‘s score pulses underneath without overwhelming.

Could this film have done as well in theaters? Honestly, I don’t think so. It doesn’t scream blockbuster or demand projection on the biggest screen. But as a crackerjack crime thriller to watch at home, headlined by two bona fide A-listers with a formidable supporting cast? The Rip delivers. There’s a sincerity to its ending that I appreciated, even if a few questions linger unanswered. When the final credits roll, you’ll find yourself thinking not about what the film left on the table, but about how satisfying the ride actually was.