Tag: DRAMA

INLAND EMPIRE (2006)

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Edited, Cinematography, Written & Directed By: David Lynch

Cast: Laura Dern, Justin Theroux, Grace Zabriskie, Jeremy Irons, Harry Dean Stanton, Diane Ladd, Julia Ormand, Mary Steenburgen, Masiumi Max, Amanda Foreman, Terry Crews, Jordan Ladd, Ian Abercrombie, Cameron Daddo, Jerry Stahl, Nastassja Kinski

A blonde actress is preparing for her biggest role yet, but when she finds herself falling for her co-star, she realizes that her life is beginning to mimic the fictional film that they’re shooting. Adding to her confusion is the revelation that the current film is a remake of a doomed Polish production, 47, which was never finished due to an unspeakable tragedy.

I’m sorry I didn’t know what was going on half the time watching this film. It seems a film that is made more to test your interpretation or at least seems more like an art installation as film. Though truthfully might be the pinnacle and thesis of David Lynch’s filmography. Throwing any linear content out the window practically.

This seems more a film born out of his imagination and a kind of statement for him. As after all Supposedly This movie started with a phone call Laura Dern received from David Lynch asking if she wanted to come and experiment with him. That started the journey as the movie was filmed over several years and both of this films stars admit they don’t understand or what is going on in the film.

This movie makes every David Lynch movie from BLUE VELVET to MULLHOLLAND DRIVE look mainstream. This film is dark at times yet continuously feels unfocused for the audience while David Lynch directs with a sure hand. he does all the work here on his own for the most part it seems behind the scenes. So this is more his total creation. This is like an abstract painting brought to life on film. I think even if you are a David Lynch an this will test your boundaries of love for him.

In this movie there are scenes and shots of such beauty that only last a limited amount of time soon the film becomes tedious because it’s over two hours long. Now yes Andy Warhol would have loved it and called it a masterpiece and so will a lot of pretentious art film fans. Maybe it is. Maybe It’s just an abstract artist wavelength.

Now Mr. Lynch is a talented filmmaker, even in it’s moody overtones. Each scene breathes with life and opportunities that could take to scene and movie into parallel choices but it seems to just soldier on. Just like there are scenes where the film gets very interesting and seems to move only to be cut short abruptly and disappear.

I did really admire  the camerawork and the end credits sequence as well as some scenes and Laura Dern’s performance as she is in the whole film and has to somewhat figure out what is going on as well as be surprised as she goes along throughout. Her performance I can understand. Because she gives it her all and she is challenged at each turn and gives all she can at each turn. Bringing some kind of understanding and emotion into all of this darkness.

The reasons you think but for the fluid camera movement and music selection. This is a should have been movie especially with the ending. I believe we look for meaning or at least a linear story in David Lynch films and when he doesn’t give it to us. We try to read too much into it and maybe give little things that are non sensical more meaning that it has. It could be just a glitch but these directors who don’t speak on their films really are hiding the secret because audiences praise them as geniuses and all it is is a mistake plain and simple or something that was forgotten looked on or couldn’t afford to fix. But the audience feels the director is being subtle or that audiences just don’t get it. Maybe we do more than you but you believing yourself to be superior and needing to have something to believe in or influenced by your artistic friends taste or maybe I’m an idiot who knows this isn’t a philosophy class. I just wanted to state my beliefs.

This is one of those films I believe film lovers and fans of lynch need to see. Though I can say definitely watch it after you have seen all of his other films and can’t say you will enjoy it. Though there is nothing like it and it’s a movie I will say I will most likely only watch once. From what I can understand is that Laura Dern is playing in a movie that is a remake of cursed early black and white film. From the line between reality and film and film within a film are blurred. Sorry I didn’t like it but I do like other Lynch movies just not this one.

GRADE: C-

GOING TO BRAZIL (2016)

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Directed By: Patrick Mille
Written By: Patrick Mille, Julien Lambroschini & Sabrina Amara
Cinematography: Andre Szenkowski
Editor: Samuel Dansei

Cast: Vanessa Guide, Alison Wheeler, Margot Bancilhon, Philippine Stindel, Patrick Mille, Christine Citti, Susana Pires, Chico Diaz, Joseph Makebra 

Four childhood friends reunite for a wedding in Rio, only to find themselves on the run through the Brazilian countryside after accidentally killing someone at a drug-fueled party.

The film feels very 1980s inspired. As the plot feels high concept and simple. As it takes a GIRL’S NIGHT type story and takes it further and more action-oriented.

It even feels directed like an interaction action film from the 1980s. So that you always feel a bit of nostalgia. If you are a fan of films from the decade. 

The film offers a kind of girl’s gone wild scenario. As the characters deal with being on vacation in Brazil for a friend’s wedding and their lives not going too well. So they decide to show e fun no wild out. Which eventually leads to trouble. The film presents deals with them trying to stay out of trouble as more complications are presented.

Even though the film sounds like it would more be  T & A fest. It is more for female viewers. As most of the male characters are stupid, evil and manipulative.

The film sets up an older male villain. Whose motives are understandable partially. As he is only reacting to the death of a loved one. One who ended up being reprehensible. Showing that the Apple doesn’t fall far from The tree.

The film plays so broad but then reins in some scenes that want to be more dramatic or character building. 

The film certainly switches tones as it begins like a screwball comedy and then becomes more hardcore at first serious then action but tries to keep a sense of humor through it all. Leaving the film to be inventive and thankfully fast-paced.

In trying to stay out of trouble they are lead into all sorts of criminal activity and hijinks that eventually allows them to have a full-fledged adventure. That stays on the move and exposes a silly and unexpected side. 

Even if the last-minute hardcore action seems a bit much. 

The four leads all play types more than characters but all are needed for their particular skills that help along the way and they all have their own appeal. 

The more darker-skinned characters are shown more as villains, tough and dangerous. It doesn’t seem intended that way but still comes off that way and noticeable. 

The film offers an interesting tale of a girl’s vacation in its own way.

The film unfortunately might be entertaining as you watch it but by the end feels forgettable. 

GRADE: C-

NEVER, RARELY, SOMETIMES, ALWAYS (2020)

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Written & Directed by: Eliza Hittman
Cinematography: Helene Louvart
Editor: Scott Cummings

Cast: Sidney Flanigan, Talia Ryder, Sharon Van Etten, Ryan Eggold, Theodore Pellerin 

A pair of teenage girls in rural Pennsylvania travel to New York City to seek out medical help after an unintended pregnancy.

Not only a good movie, purely New York movie, a movie that reminds me of the many adventures New York offered pre-Covid for youth but an emotional tour de force that takes you through it. 

It’s a delicate film that is all about the details. Including a lead performance by Sidney Flanigan that is strong. It necessarily in what she says but what she says in her silence and body language.

This is  a movie that is raw & natural and totally believable in The films docudrama filmmaking but also outstanding acting in more a physical way where the silences enhance the mood but also say everything that is not being said 

Especially in the scene where she must answer questions at the clinic and the answers out of the multiple choices are the title of the movie and the camera never leaves her face as she answers and gives us some background on her character and situation.

Though it does showcase a strong form of family and relationship between her and her cousin including the lengths her cousin is willing to go through for not only her but also from them to survive the streets of New York.

We see her home life and see why she is making the decisions she must. As she has a lazy stepfather who doesn’t even try to hide his contempt or his careless nature for his girlfriends kids and especially her.

This is a slight disappointment not in the film but myself. As I didn’t feel the film as much as many others obviously did. It didn’t necessarily speak strongly enough, but I can recognize Its beauty, power, and strength 

Though also while never a crowd follower the film never reaches the expectations that were built up by others who praised the film. That never quite came ahold. 

It’s not a bad film very far from it. For me the film just never felt like it strongly connected with me. Even though I can see its quality. 

Definitely would recommend for others. As it is a smaller film that should be seen. As it is a small

The Film that packs a wallop especially when not looking. Though don’t come looking for a shocking ending out of nowhere or a sad element that seems to take over all that has come before. 

Though I know it shouldn’t count. Seeing it on a smaller screen doesn’t help. As if seen in a theater the film seems like it is meant to be mroe of an experience where the audience is meant to follow and practically be by the main characters side constantly. So that we are practically experiencing it with her. 

On a smaller screen it’s easier to get distracted. And for us not to necessarily be as strongly immersed in the proceedings. It’s a humanistic look at a problem that persists in society that tries to put more and more regulation on it.

Grade: B+

UNPREGNANT (2020)

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Directed by: Rachel Lee Goldenberg 
Written by: Rachel Lee Goldenberg, Jenni Hendricks, Ted Caplan, Jennifer Kaytin Robinson & Bill Parker
Based On The Book By: Jenni Hendricks & Ted Caplan 
Cinematography: Doug Emmett
Editor: Julia Wong

Cast: Haley Lu Richardson, Barbie Ferreira, Giancarlo Esposito, Breckin Meyer, Alex Macnicoll, Sugar Lyn Beard, Denny Love, Betty Who, Mary McCormack, Jeryl Prescott 

A 17-year old Missouri teen named Veronica discovers she has gotten pregnant, a development that threatens to end her dreams of matriculating at an Ivy League college, and the career that will follow.

This film doesn’t really offer anything new. Except for teens who are savvier. even when it comes to birth control and sex but still find themselves making the same mistakes.

While I can give the film some points for being witty. It is mroe episodic and comedic in nature than the situation would have you believe. Like the similar film from. The same year NEVER,  SOMETIMES, RARELY, ALWAYS 

It deals with teen pregnancy and abortion but here. While it has its dramatic moments. The film ends up being a kiddy comedy and road trip movie a live all Else.

A coming of age tale about two best friends reuniting and eventually finally communicating and learning g about themselves and each other finally being truthful in the minefield of teenage life and high school.

One of the most appealing aspects of the movie is that while it is made for all audience members and some adults might actually enjoy the film. The film is obviously made for teenagers. Characters they can identify with and the filmmakers are smart enough to make it a film not full of preaching nor talking down-to the audience but offering characters who aren’t perfect and make mistakes but also are likable and loyal.

Of course most of the characters they meet along the way move the story forward but feel more like stick characters or comedic relief. Who only help to confuse the situations and characters.

The boyfriend character I am happy the film dismantles and exposes. Where he still has toxic masculinity even though he believes himself to be right because he is nice and sensitive. Yet still seeks to control his girlfriend and kind. Even though when the condom broke but neglected to tell her. Even tho consensual could easily also be seen as sexual assault. The film doesn’t go there but seems a little implied 

Also though the movie is entertaining again Haley Lu Richardson walks away with the movie and it shows that she has graduated from this type of material. She has been in So many of these films at this point. That while she is good. She deserves better.

Barbie Ferrera is the only other movie I have seen her in other than EUPHORIA the television series and while this character is less sexual. She is still kind of the outsider and she excels at the character. 

Grade: C+

NOMADLAND (2021)

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Edited, Directed & Written by: Chloe Zhao
Based on the book by: Jessica Bruder
Cinematography: Joshua James Richards

Cast: Frances McDormand, David Strathairn, Linda May

After losing everything in the Great Recession, a woman embarks on a journey through the American West, living as a van-dwelling modern-day nomad.

This film shows a subculture of people that is growing. Due to these hard economic times. 

The film uses few professional actors Star Frances McDormand to command the screen and give us a protagonist to sympathize with and relate to. As well as hold certain narrative storylines make it more a docudrama than it being a plain old documentary

Most of the cast are non-professionals seemingly playing themselves. We get interludes woven into the story where they talk about what they went through and how they came to be in this way of life. 

We get to know McDormand’s character so that the film ends up being a character study of sorts. As we get to know more and more about her slowly. 

The Power of Frances McDormand’s performance is that she fits right in seamlessly and feels like a natural ember of the non professional cast. As she is our guide throughout.  She seems to be the conduit for others to tell their tales. 

The character is Less stabilized and more like the title nomadic. As the characters have limited opportunities but always find work or ways to barter. They have room to control their own destinies. 

The film sets up her and David Strathairn’s story mroe as a side story to the narrative that introduces drama and relationships. 

The film reminds one that David Strathairn has always been underrated. As he always plays the character memorably and to the extent with nothing extra or Unnecessary. Never calling attention to himself or his performance. Just as with McDormand this plays perfectly into his talents.

As much as it is mentioned and shown. Surprised this movie wasn’t put out by Amazon Studios. 

She can’t settle even when she knows it’s better. Not to mention it seems that she has always been I plus I’ve thought maybe as she had a life that was stable until it all came crashing down. She is afraid that if she ever puts her trust instability it would all come crashing down again. Showcasing a lifestyle that is full of freedom and no dependent on anyone or anything. 

Consistently expressing themselves that one could easily identify. As it feels so relatable. As we are immersed in this lifestyle it comes off as if we are having an experience. Not knowing where fact and fiction exactly differentiate. 

The film ends up being life-affirming with beautiful tracking shots of the Midwest Americana landscapes 

Even though with the third act the film explores more of a domestic city temptation 

Grade: A-

PAPER TOWNS (2015)

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Directed By: Jake Schreier
Written By: Scott Neustadter & Michael H. Weber
Based on the Book by: John Green
Cinematography By: David Lanzenberg
Editor: Jacob Craycroft & Jennifer Lame

Cast: Nat Wolff, Cara Delevingne, Austin Abrams, Justice Smith, Halston Sage, Jaz Sinclair, Cara Buono 

*Please note that some trivia and facts have been republished from imdb among other sources In this review

Adapted from the bestselling novel by author John Green, PAPER TOWNS is a coming-of-age story centering on Quentin and his enigmatic neighbor Margo, who loved mysteries so much she became one. After taking him on an all-night adventure through their hometown, Margo suddenly disappears – leaving behind cryptic clues for Quentin to decipher. The search leads Quentin and his quick-witted friends on an exhilarating adventure that is equal parts hilarious and moving. Ultimately, to track down Margo, Quentin must find a deeper understanding of true friendship – and true love.

This reminds me of a John Hughes movie at least the closest modern equivalent. The next generations model. That doesn’t speak in stereotypes and generalities. It also doesn’t feel disposable and plastic. Made purely for entertainment value. Rather than a film that will stick with you.

This film feels like the kind more can identify with for the good and the bad things that the characters do.

How there is a natural mystery to life and in life, but also how we look for things or put various things together that might not even go together or are just various mistakes that happen to fit together and can create their own narrative.

A movie of the generation after mine that feels familiar while having it’s own quirks and points of view. While also playing by it’s own rules.

It stays inventive and charming yet cute. 

What I lie a it the film is that I like about John Hughes films that they are smart, reserved and fun. They educate while telling a entertaining story. It tackles serious subjects lite but responsibly.

Luckily it never passes itself off as deeper than it can handle as it isn’t.

Cara Delevingne’s character is largely absent as she is at the center of the mystery and while her character is mystical there is also a sense of irresponsibility and pretentiousness about her that makes her come off as more manic pixie dream girl. As she has little qualities a young man might wish for in a girl who acts too cool for school. Yet also always seems to try things out to discover. As she has yet to define herself it wants to. Which you can see coming. So when that comes into play you are not that surprised and understand why it must be done. Though seems rather dramatic.

Cara Delevingne wasn’t the only person considered for the role of Margo. Shailene Woodley was originally cast, but had to drop out due to clash of filming schedules with Insurgent. John Green said he would have chosen Emma Blackery, a fellow YouTuber, for the role, but he admitted the casting wasn’t up to him.

I like that the ending shows that it necessarily isn’t meant to be more about learning and bonding with those who care and truly love you.

So that the journey was more important than the goal and have a true adventure. For those who can’t see the obvious. As it is the same lesson told to a new generation in their own language.

Though the film doesn’t hold into account her characters selfishness. Though it does shed light on something women have to go through. Instead of being looked at for themselves, personality and talents. Instead they represent what others choose to put on their shoulders jewel, fantasy, sex object, miracle, and that hey are nothing more the. A guns being a person who has flaws and doesn’t have everything figured out. Falling in love with their without really knowing them.

A teen, free spirit who while admitting guilt at least apologizes and proved to be a convenient to freedom at least from a mind state or sense of being. Also away from your parents.

While I am not necessarily a big fan of John Green’s books. Of which I have only read one and really enjoyed it. As i find his writing somewhat truthful, well researched, quirky and touching as he doesn’t paint his characters as saints and actually has sexuality and language. That most books of that type seem to avoid to be more universal and safe.

In the book, Angela does not (and is never asked to) go on the road trip. Does not have the same ending as book

If you like coming if she movies or teen films. This will be a nice film to check out. Time nothing special but it is a good time.

Grade: C+

FEMALE PRISONER SCORPION: BEAST STABLE (1973)

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Directed by: Shun’ya ito
Written By: Hiro Matsuda & Tooru Shinohara 
Cinematography: Masao Shimizu 
Editor: Osamu Tanaka

Cast: Meiko Kaji, Mikio Narija, Reisen Ri, Yayoi Nanbara, Seiya Sato, Takashi Fujiki, Tomoko Mayama, Mitsuru Mori 

Sasori is outside the prison and on the run from the police, wanted for breaking out of prison and murder. She takes refuge with a woman who has a brother with a learning disability. The woman and her brother are also involved in an incestuous relationship. Both the police and an ex-prison mate of Sasori’s pursue her.

This sequel feel more like a closing chapter more than anything. As it feels final and with little else to go. It’s also a lot more somber than the previous films. 

Don’t get me wrong it is still outrageous but not as ridiculous. As scorpion is On the run again and it seems everyone has it in for her. So that she has to seek revenge in multiple characters. The film is inventive in how it all comes together with characters each passing into another’s story.

Though this film is much sadder than the others as throughout this film scorpion becomes a ghostly Angel of vengeance for other characters who are victims of the villains throughout. As well as haunting the villains who underestimate her at first.

The film still has many uncomfortable exploitive moments meant to add drama or provoke a reaction out of the audience. Especially when it comes to sex scenes. This film feels more scaled back when it comes to sex and nudity but does have a sympathetic character In an incestuous relationship.

By the end no one Truly wins. The character you expect to somewhat be saved or be on the road to a better life by the end is pretty much still left where she was at the beginning. Only more tortured, but at least made a connection with the scorpion.

This is the last film of the franchise directed by Shun’ya Ito, which might be why this feels more like a finale than the eventual final sequel that stars Meiko Kaji in the role of the scorpion. Before eventually producers decided to revitalize the franchise without any of the original team involved.

All the male characters are evil and deplorable. Most are disposable also as cops, henchmen, or depraved men looking for sex or to exploit women.

One of the villains in the film Katsu seems more like a villain. Suited for the more outrageous previous films especially with her wardrobe and make up. As she comes across as campy almost she is cruel but the right amount of ridiculous as the previous films. Luckily as the film Goes along her development goes from scared to haunted to absolutely crazy with guilt. That she eventually matched the paleness of the make-up on her face naturally.

The film shows that the purgatory of prison was just as bad as the outside. At least prison only took up a certain amount of space. As the harsh reality of freedom seems to make the female characters natural prey. As it is so unpredictable. Whereas in prison you knew who to trust who not to.

The film shines a light on the harsh reality for the character after the more psychedelic freestyled previous films 

GRADE: B-

THE SEDUCTION OF MIMI (1972)

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Written & Directed By: Lina Wertmuller
Cinematography: Daria DiPalma
Editor: Franco Fraticelli 

Cast: Giancarlo Giannini, Mariangela Melato, Agostina Belli, Luigi Diberti, Elena Fiore 

After voting against the powerful Mafia candidate in Sicily, in what seemed like a secret ballot, impecunious Mimì finds himself with his back to the wall. Desperate, and having no one to turn to, Mimì abandons his wife, Rosalia, and relocates to the bustling city of Turin, only to fall for the beautiful Trotskyist, Fiore. One child later, and as one thing leads to another, Mimì gradually realizes that he is not ready to accept the new social morals that prevail in the industrialized north, catching, once more, the Mafia’s attention. Now, political beliefs, loyalty, infidelity, and revenge become inextricably intertwined, and once again, Mimì is left with nothing, having no other choice but to return to Sicily. But, can he keep his life in Turin secret?

This film has the set-up of a comedy with a cowardly protagonist who it’s hard to feel sorry for as he keeps getting himself in trouble out of machismo, Revenge, and sex. Where somehow he usually fails up. Getting promotions and more money. Though supposedly anti-government.

Once he finds true love he works for it. But continues to fail. As he can’t even be loyal to a political party, but that is More due to pressure and assassination attempts. So that is understandable. This is truly the tale of a man who stands for nothing and pays the price for it.

I was introduced to the tale years ago watching it’s American remake “WHICH WAY IS UP?” Starring Richard Pryor abs tailor-made for his talents. Dipped into the politics at the time as background. The only difference is that Pryor played different characters In his version. 

This film is also dipped into politics. We watch as the main character gets what he wants but keeps messing. It up due to hubris and when threatened quickly shows how cowardly he is. Along the way, he is never truly satisfied.

The third act at first makes no sense but as you learn more about it, it feels ridiculous though also, in the end, feels like a punchline. As it is all about foolish pride. Which truly becomes his undoing and exposes his character losing all he has.

Mariangela Melato again is a screen goddess. Still as amazing and fiery as in SWEPT AWAY co-Starring with Giancarlo Giannini again. 

you can understand and see why he gets obsessed and tries to seduce her. Why he is willing to risk it all for her. Even as she makes her rules clear though amazed she stick by him. So thoroughly throughout and why she leaves after such a minor betrayal compared to his many others that She can forgive. He has no loyalty to anyone, including his family 

Some scenes seem there to just add to the artistic surreal quality of the film and while there are build-up and reasons for these scenes. They also feel like episodic escapes. 

The film is lively and ridiculous, but so artistic that it feels naturalistic and beautiful constantly and comes across deeper than it actually ends up being. Though it is heartbreaking. It is a comedy at heart, though so sad.

One of my favorite classic iconic directors to keep discovering her movies. Who might happen to be one of my favorite directors, who happens to be female (at least next to Nicole Holofcener) she has truly outdone herself here. 

In the end, the film plays off like a grand comedy of morals and cowardness. That feels gross and political all at the same time.

Grade: B-

2 OR 3 THINGS I KNOW ABOUT HER (1967)

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Directed by: Jean-Luc Godard
Written by Jean-Luc Godard & Catherine Vimenet
Cinematography: Raoul Coutard
Editor: Francoise Collin & Chantal Delattre

Cast: Marina Vlady, Anne Duperey, Roger Montsorat, Raoul levy, Jean Narboni 

In this film, ‘Her’ refers to both Paris, the character of Juliette Janson, and the actress playing her, Marina Vlady. The film is a kind of dramatized documentary, illustrating and exaggerating the emotionless lives of characters in the new Paris of the 60s, where commercialism mocks families getting by on small incomes, where prostitution is a moneyspinning option, and where people are coldly resigned and immune to the human nightmares of Vietnam, and impending Atomic war.

When it comes to the films of Writer-Director Jean Luc Godard you never know what you are going to get. Sometimes you get absolute masterpieces at other times you get films you respect but might not love and then you get his more experimental films that can go either way. Sort of what it seems like Modern director Steven Soderbergh attempts.

Though both of their films can be off-putting for certain audiences. It might feel like most of those cinema comes off as pretentious.

This is one of the later films. Where he fills the film with beautiful women who keep your interest especially in close-ups but then the rest of the film is pretty much philosophical notions and existential discussions that become quite boring and superficial.

Where the genius lies is that he puts all of these speeches and interviews. While following certain characters. So that we examine their day-to-day experiences and living conditions. Then inserts the interviews and discussion. As well as his own whispered narrations asking us to question what we see and ponder them in different ways.

This is pretty much an experimental film all around. At times we see the characters off the wall characteristics. Like reading randomly from a stack of books while a friend writes down what they are quoting. Or a photojournalist dressed in an American flag t-shirt interviewing two women he has paid to undress in front of him while he asks questions and boats of his adventures. 

All of this is indebted to the politics at the time. Which instantly dates the film and radicalizes it to a degree. While trying to add cinematic tricks and observation. That it comes off more like a lesson than an experience.

As even at times the director seems to interview people off the street who we never see. Where the footage becomes a scattershot. Other than showing constant construction.

Which we never see what came before or after.

It/‘a a film that is full of ideas and its heart seeks to be in the right place but to a degree feels empty. Where emotions should be.

The film seems to try and show it’s Characters are used to their lives. So they have no reason to emote or seem like they are seeking to strive or escape. They just deal with the everyday. 

Even with a title that seems like the film will focus on the lead female.  As we try to get to know her and become obsessed with her. Showing her in all her glory. Instead, she is just part of the overall who we occasionally see. Though she is the most constant. 

The film or filmmaker wants us to know certain things about her but also expose her to the audience in all aspects. So that while we might fall for her we also know her. So that here is some kind of relatability but the end. Even if it just feels like a movie of expression wanting to say something yet cramming as much different stuff that connects into the tale and trying to decipher it all. 

Grade: C+

THE GHOST WHO WALKS (2019)

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Directed By: Cody Stokes
Written By: Cody Stokes & Ben Bostick
Cinematography: Michael Lockridge 

Cast: Garland Scott, Frank Mosley, Alexia Rasmussen, Gil Darnell, Dasha Nekrasova, Nattalyee Randall, Peter Mayer 

After five years in prison, guards lead Nolan to his freedom. But Nolan’s ticket out came courtesy of ratting on his former boss. A death sentence for any man. His goal: find Lena and Amy-his ex and their five-year-old daughter he’s never met-and get them out of the city, to a new life together, before the ghosts of his past can track him down and kill him.

I Hadn’t heard anything about this film and decided to take a chance Was pleasantly surprised. 

This film doesn’t have a cast of well-known actors. Which leaves the audience not necessarily having any expectations. It’s nice to go into certain films blind from time to time. Though makes it more thrilling than anything goes. There are no rules. No one is safe. 

The film is a done and dirty pulp tale of love, escape and revenge. While it doesn’t offer much you haven’t seen before it does hold your interest and wishing the lead character the best.

The film feels like a film that was adapted from a short story or a graphic novel. As there seems to be much more left unsaid or hinted at than shown at times. That gives the audience a hint that the material is deeper than what we are presented with. 

Everyone the main character comes across or comes into contact with and actually helps him. Seems to pay their own price.

The action scenes feel realistic and not too glamorous or showing off. Though oddly they do contain a bit of humor. The only time the film seems to show any.

The film, like the main character, gives it a try and is successful more times than not. Even as the villains feel familiar and one-note, but you can understand most of the character’s points of view and motivations.

The film is impressively done with a more limited budget. What is achieved is good even in the middle of the film’s Limitations and of him, bonding with others helps the film feel more earnest at times. As it takes time to build moments and characters. 

Though familiar the film never feels monotonous. Though it is a dark and bleak tale as by the end it truly shows itself to be a tragedy. 

Grade: C+