Tag: THRILLER

TEENAGE COCKTAIL (2016)

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Directed By: John Carchietta 
Written By: John Carchietta, Sage Bannick, Chris Sivertson 
Story By: Amelia Yokel 
Cinematography By: Justin Kane 
Editor: John Carchietta, Josh Ethier & Ben La Marca 

Cast: Nichole Bloom, Fabianne Therese, Pat Healy, Joshua Leonard, Michelle Borth, AJ Bowen  


Feeling confined by their small town and overbearing parents, Annie and Jules hatch a scheme of running away. But as the girls soon find out, consequences can blindside you. Sometimes violently.

Who is this film supposedly for? As it plays like a hard edged after school special. Though it does involve a central coming of age lesbian love story. Though then kind of spoils it by going into a thriller element of sex work and picking the wrong person to do it with.

The film has a weird almost laughable scene where one of the girl’s father looks at her computer ad’s and never says anything. In fact he is more embarrassed and see’s his daughter in her lingerie. Which comes out of nowhere. If the father really cared that should have been the moment to show care and discipline. It is understandable that he is shocked but irresponsible to do nothing about it This is a film that seems to be searching to be something and coming off all wrong.

I believe maybe the film might have been better if directed by a female or at least someone more sensitive to it’s material and nature. As many of the scenes of the two girl making out and frolicking seem more exploitive and vivid. Almost more like fetish and fantasy more than anything else. So that it feels uncomfortable or soft core pornographic rather then just fun or revealing. It reeks more of the male gaze, making any intimacy between the leads more erotic and physical. Rather then romantic, personal or endearing. As most of the time it feels like we are intruding on the girls and watching them as voyeurs. Not in a good way as we invade their privacy and tender moments.

So much so that it feels like an adult film only without the hardcore scenes and not as over the top. Which unfortunately makes it feel slow. Though it had an starter emo indie artist soundtrack. That showcases how amateur the film comes off. As since it doesn’t know how to identify itself. Like it’s characters it just seems to try anything to fit in and be relevant. So that it can say something, but as it has it’s chance. There is nothing new or too striking to say.

Though the final 15 minutes seem more stupid and ill advised even if the characters are young. As all of a sudden the man turns psycho and desperate. In a way over the top way. Rather than subtle.

You can’t shake that the film and the females characters in particular are being shown and shaped under a male glaze that turns everything into titilaion instead of emotional drama. One just wishes there was more to it. As it seems to make an emotional drama about friendship and connection. Then all of a sudden veers into thriller territory. Which could have worked if it didn’t feel so rushed all of a sudden.

It’s a shame as all the actors are usually good in other films and have a real chance to shine here, but what they are given is so mundane and silly that it never makes a mark.  

GRADE: D+

SAINT MAUD (2021)

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Written & Directed by: Rose Glass
Cinematography: Ben Fordesman
Editor: Mark Towns 

Cast: Morfydd Clark, Jennifer Ehle, Lily Frazer, Marcus Hutton, Lily Knight, Noa Bodner

Deeply religious Maud, a tight-lipped live-in nurse with a dark past, takes a job in a humdrum English coastal town to look after Amanda Köhl: a once-celebrated, now terminally ill former dancer and choreographer. Convinced that she has been sent to sensualist, chain-smoking Amanda with a purpose, ascetic Maud soon becomes obsessed with saving her vulnerable patient from herself, and in the process, lead her to the light. However, is worldly Amanda prepared to receive absolution for her sins?

This is a film that I was looking forward to seeing. It was at the top of my must-see list for 2020, until it got postponed, and finally got to recently watch. It is definitely a case of a movie living up to my expectations.

You can tell that this film feels lien something special. Even for as dark as it is.

The film is a great production and has committed performances and is definitely the work of a gifted filmmaker. As the filmmaking is gorgeous and sumptuous. That doesn’t fit into expectations. 

The film offers a lot of build-ups. That has a bunch of elevated horror cliches. As the film Challenges the audience’s expectations. As they might be looking for more than what the film has to offer.

The film revolves around loneliness at heart. While going through mental illness and stability. It ends up with strongly disturbing images.

The film is a slow burn that takes it’s Time with it’s Story and characters. Where it is meant to be more than what you are seeing. This film wants to be more than entertainment. It wants to affect you. Say, present and experience its Story more. 

It deals with obsession which causes a mental undoing to someone who was already fragile. Where she punishes herself. When she is only

Trying to help and seeking forgiveness for her past through religious fundamentalism. Which strangely she turns into a kind of eroticism for herself.

Her devotion spins takes form In trying to awaken others and give them what they want to try and help them. While having more and more delusions.

Where eventually she keeps building an intimacy out of loneliness. That once making a connection in helping others to make herself feel better and not worthless. 

As we are given hints to her life before he became so devout that seemed aimless and wild before an accident that changes her. 

By the end, the film is Sad and depressing but effective. In the last act of the film, the film becomes more of a horror. as it becomes more tension-filled. Where it feels like anything can happen.

Grade: B+ 

ALL MY FRIEND’S ARE DEAD (2020)

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Written, Edited & Directed By: Jan Belcl 
Cinematography: Cezary Stolecki 

Cast: Julia Wieniawa, Adam Turczyk, Nikodem Rozbicki, Aleksandra Pisula, Monika Krzywkowska, Szymon Raszak, Michael Sikorski, Paulina Galazka, Adam Bobik

During the New Year’s Eve party of a bunch of friends, a series of crazy events brings out secrets, breaks hearts and leads to a shocking ending.

This film plays out like a 1980’s party film where a horror film finally starts to come into play in bits and pieces. Due more to the more macabre deaths and subject matter.

Even the soundtrack has nothing but purely 1980’s music on it. 

The film is supposed to be horror or advertised that way. This plays more like a bleak comedy of errors and misunderstandings.

The film is sex-filled with acts and/or talk of it that leans a bit into the exploitation zone, but it doesn’t feel as dirty or tawdry here. 

At first, you in the audience are waiting and looking at what will set everything off abs start the killings. As the opening Lets us know the aftermath. So that the film is one big flashback. 

The opening doesn’t make the film look too promising. As it is a totally different tone from the eventual film. 

The film is an ensemble following different characters. Each character here is more of a type then it feels fully dimensional. Mroe set up to be a piece in the game that This film seems to want to play.

The film is vulgar and juvenile. The kind of film the filmmakers seemed to aim for and the film that the characters all resemble. As it definitely has energy but is not for everyone. As at times it is very lowbrow but takes you by surprise. 

It feels more like a male fantasy then anything else. As there is plenty here that feels like it belongs in a sex comedy with most of the female characters willing or looking for sex. 

Each character and situation seem to influence each other as they cross paths. Making this a truly crazy and deadly house party. 

The last act where everything goes bonkers abs becomes officially a bloodbath. Where as what starts it all off makes this grill like an extended TALES FROM THE CRYPT episode. Never exactly going where you expect it to. 

This is a more audience-pleasing blockbuster that lacks depth but tired to appear to have some at times.

I know I might sound down on the film but actually, it’s a simple film with a good follow-through that keeps you interested and enthused. 

GRADE: C+

ALL THE BOYS LOVE MANDY LANE (2006)

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Directed By: Jonathan Levine 
Written By: Jacob Forman 
Cinematography By: Darren Genet 
Editor: Josh Noyes 

Cast: Amber Heard, Anson Mount, Whitney Able, Michael Welch, Edwin Hodge, Aaron Himelstein, Luke Grimes, Melissa Price, Adam Powell 

A group of high-schoolers invite Mandy Lane, an innocent, desirable girl, to a weekend party on a secluded ranch. While the festivities rage on, the number of revelers begins to drop mysteriously. The film has a sensational ending. 

The film is way too short, but there is a logical reason for that. Too much more would have made it feel long. Plus it was running out of victims and things to do between the killings after all. It is not a supernatural tale and there aren’t too many victims to go around on an endless blood lust. 

As much as I like the film due to it’s limited budget and claustrophobic feel and relatively small production. 
Everyone being attracted to Mandy Lane is a little believable especially when Dealing with teenage hormones, but when the girls also begin getting attracted to her it feels a bit forced. Their attraction and her being so innocent and not realizing the peer she has over them. Feels a bit far fetched but realistic enough. As does the rest of the film. As the murders, the motivations. It becomes less of a mystery. As to who is doing it. Then When, who will be the next victim and how the killer will strike is more of the mystery in this film. 

From it’s visual arresting beginning set to the song “IN ANTICIPATION OF YOUR SUICIDE” by Bedroom Walls, I was hooked, I knew the film would be something special. A little different. –The direction is tight, but I feel the material is not sensational until the end and at that point the film makes you rethink everything. You have just seen and analyze it. 

SPOILER 

The ending finding out Mandy was part of the killings the whole time. Making her a kind of inside man, setting all the victims up. So her friend Emmett could get access and know each person’s location and her bobble cords of him. During what is supposed to be their murder suicide. So she can be the survivor and get more attention on a grander scale. Truly makes this film a portrait go a sociopath in a certain situation in which she is always the victim of most people’s fantasies of her. So she becomes everything to all people and realizes she is not what they think. She is a lot worse and wants to take control of her identity in a way, she lets them believe what they want. While secretly hating it and wanting to get revenge on them for it, but realizes that she gets what she wants because of it. So she deduced her best friend to do her bidding. So she can get away with everything. He is just as bad as the rest to her and the only person she finds a connection with is the one guy not going gaga over her and actually is moral and just. 

The most chilling part of the film is not that she just got away with it, but what will happen to future people who cross her path and dare to try and be close to her. It’s a sort of psychological story that makes you think through constant list of an innocent. This is what you create in that person. Thinking about the film probably makes the film smarter and more interesting then it actually is, but for the most part it is a solid film that tired to buck certain Conventions. While following them at the same time. 

SPOILER END 

The casting is good though only Amber head as Mandy Lane seems to be the only one who really benefited from the film and the role. She does look like a fantasy come to life. It is one hell of a role though. An impressive skeleton in the closet. As for awhile after this film she was the next big thing. It seems a bit more based on her looks as she barely has any liens through the film. Even though she is the lead. She is In Almost every scene. Sort of like Brandon Routh in SUPERMAN LIVES. Sometimes i wondered if her character was borderline autistic. 

Emmy Rossum was offered the role of Mandy Lane, but turned it down, stating that she did not want to be in a slasher movie.
 
The deaths throughout the film are not that spectacular. What takes the film down is that it believes it is smarter than the audience. So much so that it feels a bit glib. Especially when all of it’s power is in the ending. 

The film can be dull, while you are waiting for something, anything to happen. It tried to be atmospheric, but it doesn’t work. It’s an average film that has been hyped to be better than it actually is. Only because at the time the limited access to it. So this is a film that runs more on reputation than anything else  

Grade: C+

GANGSTA (2018)

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Directed by: Adil Elarbi & Bilall Fallah  Written by: Adil Elarbi, Bilall Fallah, Nabil Ben Yadir, Bram Renders, Kobe Van Steenberghe & Handrik Verthe  Cinematography: Robrecht Heyvaert Editor: Adil Elarbi, Bilall Fallah, Kobe Van Steenberghe & Thijs Van Nuffel 

Cast: Matteo Simoni, Junes Lazaar, Nora Gharib, Said Boumazoughe, Nabil Mallat, Paloma Aguilera valdebenito, Werner Kolf 

Antwerp. The lives of four dealer friends, who want to become real-life swaggers, spin out of control when they steal a shipment of cocaine. They trigger a full-out war between them, an Amsterdam drug lord and the ruthless Colombian cartels.

Looked forward to watching this film by the directors of BAD BOYS FOR LIFE. Their last film before that film almost seems like an audition reel. 

one can see why they were given directing reign of BAD BOYS FOR LIFE. As with this film. They prove they can handle Action and comedy that might be a little dark around the edges but not too bleak, but also a diverse cast.

Though when it comes to this film’s material, it often feels more cartoonish even though it tries to be really quite often. Like the characters, it feels too on over its head at times.

As every time the film seems to be sticking with a certain tone. The film withdraws and goes into another tone to throw off the audience and keep them guessing even when not needed.

This is close to being an almost Guy Ritchie movie except he keeps his tone light and has his characters a bit more defined,  it similarly Whimsical and usually in the criminal world

The characters are likable but rather thin so that they are more defined by characteristics and their individual ambitions than actually coming off as characters. They more Just live up to their nicknames except for the main two characters of the crew.

Though the film is filled with its colorful characters, the most entertaining is actually the criminal lawyers played by the directors more for humor, but are unscrupulous when it comes to protecting their clients.

The film Touches on subjects but Rarely fully Explores them except to occasionally bring them up like racism, growing up as an immigrant. Making something of yourself, when education really isn’t a choice. 

The film is a lot of things but never comes through with An actual decision that leads to it feeling all over the place. There is plenty of styles all over the place that is inventive in fact it feels like every scene and the shot is designed to keep moving and to always dazzle. 

Though even for the hardcore material and subjects that they tackle. The film feels lightweight and almost playful. As it never goes in too deep. It also feels way overstuffed and too long. As the film feels the need to explain every detail and then show it. Whereas if the film was cut down by fifteen minutes it wouldn’t Feel so monotonous by the end.

Just like the main character by the end of the film, it Doesn’t Seem to exactly want to commit.

The film is enjoyable and a fun time in general 

Grade: C

THE GUNMAN (2015)

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Directed By: Pierre Morel
Written By: Sean Penn, Pete Travis & Don McPherson
Based on the Novel By: Jean-Patrick Machette
Cinematography By: Flavio Martinez Labiano
Editor: Frederic Thoraval

Cast: Sean Penn, Javier Bardem, Idris Elba, Mark Rylance, Ray Winstone, Jasmine Trinca, Peter Franzen 

A sniper on a mercenary assassination team kills the minister of mines of the Congo. Terrier’s successful kill shot forces him into hiding. Returning to the Congo years later, he becomes the target of a hit squad himself.

This seems like Sean Penn trying to be like Liam Neeson. Where after having a career doing more dramas here late in his career and in shape deciding to do an action movie. Only here more involved as he co-writes and produces this film.

At this point in his career, it seems like he has tried it all so why not an action hero? While also showing macho charisma while being the sensitive hero at the same time. While it is a change of pace. Sean Penn slides right in like he has been doing it forever. He does get to show off his body and the film includes some of his well-known Past times such as surfing that find their way into the film. 

If you notice this review mainly revolves around him. As truly he is the only noteworthy thing about this movie.

The movie isn’t as compelling as his other thriller THE INTERPRETER though that worked as it had a More sure hand direct by it with Sydney Pollack and worked more as a thriller and at least felt more like an ensemble while he starred in it.

This film seems to be more of an action film but it actually more an espionage film involving spies. Which should make it more intriguing. Unfortunately, it doesn’t In fact, the film seems more devoted to showing off Krav Maga as a fighting style.

It’s easy to get lost in espionage films as to the actual plot once it is finally uncovered. Though it does offer a mystery to be uncovered.

This seems like a film made for an older crowd. As it takes it’s time and offers up mostly older seasoned characters and not the hot young things. So that you know the characters are veterans and skilled. Not naive and learning along the way.

It has all the basic ingredients. As the action scenes are more in the second half and are pretty basic. It seems to hit all the required points but still comes off as dry. Though it seems to be more self-important and spread some kind of message before it becomes more centered on the action.

The love story in the middle of the film seems a bit lame but adds a little skin to the film as well as stakes. Plus can’t blame the filmmakers as this is based on a novel.

The film has some respectable actors shows g up in the film. Even though Idris Elba doesn’t appear until the third act. The film also seems to age funnily by putting up a red herring for a villain amongst the bigger names of the cast.

It seems the recognizable names in these types of films. Are here for easy paychecks and either to be red herrings as the main villain not end up being the surprise third act main bad guy.

Although the film was produced by veteran action producer Joel Silver, Silver was removed from the editing room after one visit, and the final cut of the film was supervised by actor Sean Penn and director Pierre Morel. Which would explain why this seems like Sean Penn porn as he seems all over and able to do everything and anything in this starring role. As it seems if he is going to crossover he wanted to truly make it worth it for him.

When it comes to Javier Bardem’s character you can understand his motivations but it feels so sappy and ridiculously is for a man in his line of work and position. So that even if not the main the film tries to make him seem noble but he comes off more as pathetic.

Grade: C

DEN OF THIEVES (2018)

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Written & Directed By: Christian Gudegast 
Story By: Christian Gudegast & Paul Scheuring 
Cinematography By: Terry Stacey 
Editor: Nathan Godley, Joel Cox & David Cox 

Cast: Gerard Butler, O’Shea Jackson Jr., Pablo Schrieber, Curtis “50 Cent” Jackson, Meadow Williams, Brian Van Holt, Jordan Bridges, Dawn Olivieri, Maurice Compte, Evan Jones, Mo McRae 

A gritty L. A crime saga that follows the intersecting and often personally connected lives of an elite unit of the LA County Sheriff’s Dept. and the state’s most successful bank robbery crew as the outlaws plan a seemingly impossible heist on the Federal Reserve Bank of downtown Los Angeles.

I will be the first to admit this film is better than you might think it will be.

While you watch it. It seems to be a film that is inspired by HEAT and wants the audience to see both sides of the fence when it comes to the criminals and the cops chasing them. Though when it comes to the cops we only really see Gerard Butler’s home life and problems. When it comes to the criminals we see glimpses but mainly see 50 cent’s family and Pablo Schrieber’s planning.

At least when it comes to 50 cent’s daily the film adds some humor in the form of a warning to his daughters’ prom date. Which also helps humanize the character and the crew.

The film was in development for roughly fourteen years, where director Christian Gudegast and a writing partner had a blind deal with New Line Cinema in 2003. The project was also later supposed to be distributed by the now-defunct Relativity Media at one point as well. His original cut was 160 minutes long and had a different ending. Which would have added even more brooding to the film I am guessing.

The film is filled with testosterone galore with plenty of muscles up men with tank tops of their shirts off and sweaty. Using the guide or reasoning of working out of a home gym where they plan their caper.

It also seems to want to keep a kind of aggressive Mano e Mano tone. Where all the characters tend to be over the top tough and dangerous and females stay mostly in the background.

Though one is used as a kind of power play against one another. This only adds to the leaders of each side mutual respect but also a kind of sabotage they try against one another. As they know a showdown between them is coming and literally are sizing each other up.

Prior to filming, two separate boot camps were run in order to get the cops and the robbers in shape for their respective roles with both groups training separately to enforce a rival atmosphere. Interestingly, each group was trained differently by military consultant Paul Maurice.

O’Shea Jackson Jr.’s character is our introduction to this film and world as he is trying to be part of this crew as a getaway driver. He is the only new guy on the crew and goes through the ropes of intimidation. While also being forced by the cops to be an informant. He also seems to be our protagonist, but soon he and his storyline seem lost in the shuffle as the film begins to become a passing contest of one-up-manship between Pablo and Gerard.

While we wait for the heist that is promised to ensue. Most of the film is about the build-up of the different diversions and challenges thrown in front of each other and having to defeat or subvert in able to move forward and just as aggressive as the heist is these moves they make before are just as strong and motivated.

The film does offer beautiful visuals and quite stirring action sequences. As the heist fits all the required tension you want and expect. So that by the end it feels like a good modern-day heist caper film. Where we only learn of the logistics of the plan when it happens.

The film is building as it goes while we wait for the eventual showdown and release.

The film leaves you to wonder if the character of Gerard Butler was driven due to his failing marriage. So he seems more amped up and ready to go over the line. As it seems to be what he is good at and more capable of controlling even though supposedly more dangerous and unpredictable than a relationship. As at first he and his crew seem either dirty or more adept at bending the rules then they actually are eventually seen as pretty by the book.

By the end of the film, you have sympathy for the robbers as we meet their families and situations. Only to find out both sides were played against the other. By the end, it seems to try too hard to set itself apart by all of a sudden Introducing a twist. That while it works wasn’t really necessary.

It achieves what it set’s out to prove. It also doesn’t overthink itself or tries to show off for the audience more than what it has. Nor does it gloat or focus on any twists it offers up.

Grade: B

DAYDREAM NATION (2010)

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Written & Directed By: Michael Goldbach 
Cinematography By: Jon Joffin 
Editor: Jamie Alain 


Cast: Kat Dennings, Reece Thompson, Andie McDowell, Josh Lucas, Rachel Blanchard, Katie Boland

Big city girl Caroline is new to a small town, she disregards her high school classmates, and then just for kicks starts a sexual relationship with her teacher, Mr. A. Meanwhile, there’s a serial killer roaming the town, an industrial fire burning on the outskirts, and Thurston is mourning the loss of his best friend. As Thurston falls in love with Caroline, realities quickly catch up to all characters, and they are all going to have to mature or face the consequences.

While this film didn’t love up to the tone that the trailer sets. I still found much to admire in the film.

The film’s mood is a mixed reality for the most part as some scenes feel like we are in a dreamland. The occasional surreal visuals help set that up throughout the film.

At times the film feels a little over the top filled with a ridiculous serial killer side story. That seems to only be there so there can be some kind of structured plot. Instead of having the story be Random. It also sets up to give teenage angst in this film a feeling of true nihilism because literally today could be their last.

It also leaves it to the audience to examine the characters more closely. Maybe their quirks are hiding some real serious mental problem, leaving their behavior as an obvious red flag.

The title comes from the music group Sonic Youth’s classic album. There are numerous nods to the group throughout the film. One Is that One of the leads played by Reece Thompson is names after the music group’s leader Thurston Moore. Like a Sonic Youth album, there are moments of great beauty. While the characters try to have a hardcore edge. They are broke. Like many of the chords the group plays. The only thing missing is the group’s music. It would have been cool if they scored the film, though the soundtrack isn’t bad. Especially its use of the band STARS music throughout the film. They are a Canadian band and this film was obviously made in Canada. Though at least they use the song KOOL THING by Sonic Youth

One of the film’s strengths is the lead Kat Dennings who totally owns this film. She has an off-kilter sexiness. Like Rose McGowan, but with a sharper wit to go along with her looks. She has a classic look as well as being voluptuous. How she wasn’t cast in the lead for the film EASY A. I’ll never know as it seemed to be a role tailor-made for her. Though Emma stone did a good job.

Here her character has a hard shell, but a vulnerable side she only seems to show the audience a she is the narrator.

I like Josh Lucas as an actor, but here he seems wasted playing more of a wounded caricature. Then rather a character. He deserves better as he seems a major actor stick in a supporting role. His character seems to just make no sense, even after learning his back story.

I enjoyed the film’s chapter stops to fully explain situations with a little more insight.

The film at times can be a bit pretentious and hazy as to who is it all for, but it kept up my interest and left me impressed. The film certainly isn’t for everyone. It feels like a PG-13 version of TWIN PEAKS mixed with a sardonic teen movie. Made by David Lynch only not in control of his skills.

A good rental

 Grade: B-

SICARIO (2015)

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Directed By: Dennis Villeneuve 
Written By: Taylor Sheridan 
Cinematography By: Roger Deakins 
Editor: Joe Walker 

Cast: Emily Blunt, Josh Brolin, Benicio Del Toro, Jeffrey Donovan, Victor Garber, Jon Bernthal, Daniel Kaluuya, Maximilano Herandez, Raoul Trujillo

An idealistic FBI agent is enlisted by an elected government task force to aid in the escalating war against drugs at the border area between the U.S. and Mexico.

This film is where director Dennis Villeneuve style really comes alive. Now while PRISONERS is a well directed film. I always had problems with it. Here Villeneuve’s style is crucial to the story.

It can only be explained as he has a knack for making scenes feel alive with tension. Even simple ones. He manages to catch you off guard so many times. That at any moment in his films anything can happen. Especially in the world the characters inhabit. Violence can break out at any time. Tension which he excels makes everything feel urgent and powerfully delivered. Makes it feel like anything can happen

The film while having violent scenes manages the trick of not really showing any violence but making it feel like there is more in the film then there actually is. The few scenes of violence are either so shocking or graphic. That in other scenes that even suggest it. Your imagination is already at work going overboard.

That is certainly a skill in story telling.

Here Emily blunt is our protagonist so we learn things just as she does and through the first half of the film. We realize we are on a mission, but just like her the rules and true objective are confusing and the rules keep changing. So that we are constantly confused even when the audience thinks it knows where the film is going.

She makes a good lead as her character proves both tougher and more fragile then she is presented. Seeing her in EDGE OF TOMMOROW convinced most audiences of her ability to be tough. Which she uses here, but here she also reminds us of how deep and emotional she can be whole Doing or at least showing so little.

Initially, the director was asked to rewrite Emily Blunt’s part for a man. But, Denis Villeneuve wanted Emily Blunt for the role after he saw her in The Young Victoria.

The film could easily be compared to films like TRAFFIC. For how it mainly shows the government side of taking down drug cartels, but the film also manages to tell small Individual stories of different characters and their position in this trade. What it also manages to do is remind the audience yes we are in this films singular world, but there is a greater real bigger world out there. That is our reality that these characters live in also.

Some night even compare the film to ZERO DARK THIRTY. If they did the only reason I can see is that they both have a female protagonist who learns to become more cautious and tougher as the film goes along. As well as learning more information about her supposed target through various different governmental agencies. As well as working with special teams to extract certain people to get to main targets. Though that film is more fact based. This one deals with a real subject, but manages to create it’s own story. This film is truly it’s own Animal

No matter what is shown and not shown this film is brutal. It is a cutthroat world they operate in.

There are some nitpicking like why at first do they forbid her partner access to go with them. Then throughout they seem to not mind if he is there.

Josh Brolin is good as the charismatic leader of this force. Who seems to operate in bureaucracy and in shadows, but the films MVP is Benicio Del Toro as a badass man of mystery. Though his character is mostly quiet. There is an intensity and toughness about him. That makes him look world weary, but constantly sharp. He takes no prisoners and seems to have no moral guide. I missed this type of performance from del toro. He played this type in SAVAGES, but that character was more of a loud mouth and sadistic for fun. Here he does it because he has to and can. If it helps achieve whatever mission he is on.

Throughout the film. The story plays out slowly only revealing itself when it has to. Even when we are privy of scenes and information that blunt isn’t. There isn’t too much revealed. So we are still just as unsure as she is. History is more reveled slowly about the characters rather then present it as soon as we meet them.

The shots throughout are beautifully composed and framed. That makes the territories they govern and go through come Alive. Even in their plainness. They feel constantly full of mystery even though they are mostly plain.

Though the film is structured well and directed well. It doesn’t feel overly stylized.

This film is a doozy, it is wild, yet calm. Epic and far reaching yet small.

The acting that plays out constantly or at least the threat of it Is not the kind you expect in a film Like this. No big action set pieces that rely on the audience finding a thrill. Like it is a roller coaster. Often the violence is either surprising, quick or just plain unorganized in the manner that it happens. This isn’t a thrill seeking movie. It is a thrill feeling movie.

Though it more relies on a moral meter. Rather than having a clear political message or even discussing the politics of the situation. It is matter of fact, yet offers a deep reserve for the audience to ponder. As it Also doesn’t offer any answers. Leaving it more of an open ended film. It’s not even really too much of a political film More like an extreme procedural.

Now while this film could have been made with any director. I believe the reason the film excels is because of director Dennis Villeneuve his style totally fits in with the story and reminds one of the promise he showed with the film INCENDIES. As with his other films though acclaimed. The style for me never quite fit the stories. Or the stories never quite fit his style. They took too many wrong turns or all there seemed to be was that style and little to no substance at least nothing deep. As the direction seemed to suggest.

GRADE: B+

COME TO DADDY (2020)

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Directed By: Ant Timpson
Written By: Toby Harvard 
Cinematography: Daniel Katz
Editor: Dan Kircher

Cast: Elijah Wood, Stephen McHattie, Madeline Sami, Martin Donovan, Michael Smiley, Garfield Wilson 

A man in his thirties travels to a remote cabin to reconnect with his estranged father.

This is a movie that will take you by surprise and keeps you guessing. Don’t expect a big change in your thinking type of film but more than a secretive kid in the corner who shocks you with his talents but still seems creepy. As each time you believe you have it figured out it adds something. A film best to go in blind. 

As one of the main desires of the film is to keep you off-center. So that you end up just as confused as the main character. The twists come not only from the plot but from the characters. Though the film does have a dark sense of humor. 

This is a movie that gradually adds things as it goes along and still Manages to stay small-scale. Even though at times the film seems to be going towards the supernatural or at least spooky. It still manages to stay somewhat believable though it has its quirks.

It also feels a little hipster-Ish when it comes to the main character and its Style. Even if it had a more pure demented heart. 

This film feels full of ideas and imagination that feels lost. As it more feels like an oddity that more belongs in a previous decade but is oddly welcome in this time period and quickly sets itself up in modern-day. Yet managing not to depend on so many modern-day conveniences.

Though ultimately it does leave you a little disappointed because as it keeps building towards bigger things and you expect something huge but after a while, it seems to calm itself and stop. Then You realize this is it and you kind of were hoping it would keep going.

It also feels like at times they are making it up as they go along and try to work more on characters than story. 

Have to wonder sometimes if Elijah Wood internationally goes after movies that leave him tortured and somehow mutilated after this and the film PAWN SHOP CHRONICLES.

Grade: C