totally falls apart, our main players [are] totally incapable
A policeman carries around the pain of the mysterious and unsolved disappearance of her best friend from years before when they were on a teenage night out together. But when she finally decides to reopen the case and investigate it herself, she soon finds herself in danger.
Perdida is a mystery crime thriller with some interesting twists and turns, although you can see one of the main twists coming a mile away. Sadly, the just-about-passable acting totally falls apart, our main players totally incapable of even trying to react normally at several crucial moments; indeed, there is no reaction at all at emotional pay-offs. This weird disjunction between what is happening and the performance of the actors is vaguely confusing and certainly ruins the film’s high points.
Lost Girls is based on the disturbing true case of the Long Island Serial Killer, where upwards of 16 young ladies, all sex workers, were murdered and buried in a field behind a gated community. The killer has yet to be identified. The film focuses on the story of Shannan Gilbert whose disappearance and subsequent police search led to the gruesome discovery of this string of dead bodies.
Nobody wanted to listen, but Shannon’s mother, Mari (Amy Ryan), was tenacious and made it happen. Deeply flawed individuals. Amazing acting even from those with very few lines. The casting was fantastic.
The obligatory credits sequence where we see the real people involved was particularly grisly and gruesome, especially when the fate of the surviving members of the family is revealed.
I don’t want to overegg this sell. Just watch the film. Fans of crime, thriller, documentary, and true stories will all love this deeply disturbing tale that will surely haunt you weeks later.
you’ll need to follow this movie up with something suitably light, such as four straight hours of back-to-back Blue’s Clues and You, just to take the edge off it.
Jake Gyllenhaal is a burnt-out cop, Joe Baylor, who’s been demoted to the 911 call centre pending an investigation into his alleged misconduct. Between abusive callers, crank callers, and non-emergency timewasting callers, Joe’s car wreck of a life — oh yeah, his wife’s left him and taken the kid, too — finds temporary sharp focus when a kidnapped woman calls without the knowledge of her abductor. Joe throws himself into a race against time to find and save this woman before it’s too late.
The Guilty is a truly breathtaking thrill ride. A kind of Donnie Darko does ‘The Call’ (review here), The Guilty is a film of disturbing twists and turns both within Joe’s fractured mind and out there in the real world. We are taken on a journey through the morally ambiguous nature of all people without losing clear sight of objective morality, all in a non-preachy way.
This is somewhat dark film that may be a bit of a downer for some. Certainly, you’ll need to follow it up with something suitably light, such as four straight hours of back-to-back of Blue’s Clues and You, just to take the edge off it. But art, like life, ain’t always pretty.
Agoraphobic divorcee Anna Fox (Amy Adams) is increasingly losing touch with reality, most of her days are spent staring out of her window and spying on her neighbours. But one day she witnesses her next door neighbour, and sole friend, Jane Russell (Julianne Moore) murdered in her own house. However, when the police check it out, it turns out that her neighbour is well and alive, but is not the woman that Anna knows (Jennifer Jason Leigh).
Is Anna crazy, or is there a cover-up afoot? The Woman in the Window is a thrilling mystery crime drama. Off-kilter performances and direction with several twists.
There is a vaguely Scream-esque aspect to the final reveal, but done straight-faced. That’s not necessarily a good thing. Other aspects of the film are slightly derivative. None-the-less, the movie was well acted, logically scripted, and compellingly directed.
A really good movie, albeit one which underuses its wonderful cast.
When Carlos (Luis Tosar) decides to take his kids to school one morning, he imagines that the breakfast time argument with his wife Marta (Goya Toledo) is the worst thing that would happen to him. Little does he know that his car is rigged to a bomb which will explode when they leave the car. But who is this mystery stranger responsible, and what does he want?
Retribution a.k.a. El Desconocido (‘The Stranger’) is a 102 minute long white knuckle ride, a crime-action-thriller so tense that I found myself agitatedly yelling at the screen. Believable, and with good performances from our leads including the stranger (Javier Gutiérrez).
if you can suspend your disbelief … enjoy the ride
Mario (Luis Tosar), a nurse in an old folks’ home, and Antonio Padin (Xan Cejudo), a legendary drug lord now residing there, make an unlikely double act. But when they meet, they just seem to hit it off, almost as if they have a bond which runs deeper. Certainly, they’re bonded by suffering.
Mario looks forward to a bright new life with his heavily pregnant wife Julia (Maria Vazquez) whilst trying to push away demons from his past which just won’t lie. Meanwhile, our feared drug lord Antonio has interred himself in an old folks’ home and is just waiting the inevitable while his two sons, Kiko (Enric Auquer) and Tono (Ismael Martinez), busily ruin his empire.
Eye for an Eye a.k.a. Quien a Hierro Mata (‘Who Kills Iron’) is a story of pain and revenge, it has some truly shocking moments. For the most part, a believable film, but my only issue is that the entire second half hangs on a very James Bond Villain’s Speech which one character gives to another; without this speech, the film doesn’t crank up a gear, yet it was totally unbelievable that this particular character should launch into that monologue. But if you can suspend your disbelief, then you can enjoy the ride.
A great character study set against the background of a drugs deal gone awry.
Horror now has a new iconic image to add to its scripture
The Harpers are struggling to deal with a recent tragedy in their family when a mysterious and evil presence begins to torment them within the sanctum of their already fractured home. A recent spate of child kidnappings adds further pressure on pater familias and local detective Greg Harper (Jon Tenney). Can Greg and his wife Jackie (Helen Hunt) and teenage son Connor (Judah Lewis) hold it together? And what is the evil force which has begun to terrorise them?
I See You is a crime-horror-thriller that thoroughly involves you in its mythology from the start. It’s also an interestingly structured and plotted film without being overwrought in the least. Split quite neatly into two halves, the second offers us a completely different perspective on the story thus far and develops the plot in unforeseen ways. Yet despite the unexpected twists, I See You is never a shlocky twistomatron, throwing up mindbending twists for the Hell of it. Quite the opposite: everything moves and develops in a completely believable way. Indeed, at the half way point where we begin to see the story from a different angle, so to speak, I felt momentarily deflated that the “reveal” was so soon. Yet this half-way point reveal was only the beginning of what was a wonderful ride indeed.
The music and sound design was thoroughly disturbing from the very beginning. It combined with the cinematography to unsettle and rivet us simultaneous. Never a boring moment. I kept waiting for the film to careen off the tracks as so many of this kind do in the second or third act. But it never happened. The writing was first rate and all the actors convinced. But the cherry on the cake? Horror now has a new iconic image to add to its scripture (see the poster above). This movie has all the traits I associate with a franchise-spawning beast, and I foretell a slew of much worse sequels coming from this bad boy.
You may have noticed that I haven’t said too much about the plot details-wise. Well frankly, I don’t want to ruin it for you. Just watch this movie. Highly satisfying in every way.
Please ignore the 5.0 IMDb and 14% Rotten Tomatoes scores.
A man wakes up in a hospital bed, bandaged from head to toe, and with no memory or who he is. But when our nameless protagonist (Jonathan Rhys Meyers) learns that he is a wanted serial killer, something just doesn’t sit right, and he won’t stop until he finds out who he really is and what happened to him.
Awake is a tense, fast-paced crime mystery with twists. Rookie writer Elana Zeltser makes a solid if not ground-breaking screenplay debut. The script, whilst not as clever as Memento (1999) or as taut as Taken (2008), is well-written with believable plotting and dialogue. Our leads, Meyers and Francesca Eastwood, also really sell the film, although the acting from Malik Yoba (detective Frank Ward) had a tendency to veer off into TV movie territory.
Please ignore the 5.0 IMDb and 14% Rotten Tomatoes scores. This film is much better than that. Riveting, fast-paced, not overly obvious albeit not earth-shakingly original, this is a lovely little movie to spend 92 minutes with.
Idris Elba is Colin, a charismatic and violent sociopathic criminal on the lam and winner of the Most Unbefitting Name Ever Award.
Idris Elba is Colin, a charismatic and violent sociopathic criminal on the lam and winner of the Most Unbefitting Name Ever Award. Whilst making his escape, he totals his car into a tree and legs it through the forest. The first house he stumbles upon is that of all-alone Terri (Taraji P. Henson) who is just putting her young kids down for the night. This charming stranger works his charisma, asks for help after his “accident”, and talks his way from the porch into the living room. Soon Terri is putty in his hands. But as they say, No Good Deed goes unpunished.
No Good Deed is a fairly standard crime thriller, but I mean that in the best way. It is gripping, entertaining, keeps us on the edge of our seats, but doesn’t really show us anything we haven’t seen before. Great performances from the small cast really sell this film and keep you engaged to the end.
There is one stand-out moment, however, an unexpected plot twist that made me choke on my coke and splutter, “Ohmigod, whuh!?”. The twist is really neat. But it isn’t so much clever, as the rest of the film is so run-of-the-mill, that you kind of don’t expect the twist at all. The twist is particularly effective as it isn’t done merely for the sake of it, as so often is the case, but actually has a punch which makes sense and gives an underlying logic which holds the picture together. I’ll stop there before I plot spoil.
All in all, a standard but very well-made and well-acted crime thriller which is a thoroughly enjoyable way to spend 84 minutes.