On this page: GROUPERS | HARPOON | IMPERIAL BLUE

< < I N D I E S > >

Dambro has a lot of fun as Meg, who is smug and annoying around her captives then reveals her nervousness when she's out of their sight. Mayer-Klepchick gives Brad an entitled air of arrogance, while Duckett is hilarious as the outrageously dim Dylan. Much less effective is Pudles' Orin, who is out for revenge and becomes villainously unhinged. There are also three overacting nutcases (Stanberry, Reed and Ioakimedes) who bring more random insanity to the dragged-out final half hour. As does Wentz as a no-nonsense thug.

The bigger themes in this movie make it impossible to dismiss, even as it begins to meander in an attempt to "prove" the obvious (sexuality isn't always chosen, homophobes are often repressed). The way writer-director Cowan continually cuts away and cycles back into the story from another angle begins to feel distracting, removing tension from the central plot in order to stir in more mayhem. The issue remains the same, circling issues of bigotry, hatred and fear, but the resonance fades as things become increasingly messy.

themes, language, violence

15.Sep.19

With only three unlikeable characters, the film relies on textured performances. Each actor brings much more than the key characteristics, cleverly playing with the choppy interconnections. Gray storms through each scene, erupting with uncontrollable anger that makes him feel capable of anything. But there's also some charm deeply buried inside. Tyra makes Sasha a force of nature, becoming the lynchpin in this desperate trio. And Chambers finds some intriguingly offbeat angles to the hapless Jonah, whose story takes a few startling turns.

Intriguingly, this isn't about a shifting balance of power, it's about friends who betray each other then are forced to deal with the issues that has raised. They can't just react and then move on, they must actually confront their feelings about each other and their lives. While remembering to include proper gross-out nastiness, Grant isn't just making a survival thriller like Adrift or Open Water. With its reference to The Narrative of Arthur Gordon Pym of Nantucket by Edgar Allan Poe, this is much more of a blackly comical psychological horror that continually subverts expectations about the nature of love and friendship.

themes, language, violence

22.Aug.19

Fagerberg almost makes the useless Hugo likeable. His soulful eyes and good-time attitude connect with everyone he meets, perhaps because everyone recognises him as an easy mark. How he survives any situaiton is anyone's guess, especially as he begins to badly abuse bulu. Tebandeke and Nanfuka are both excellent as strong women pulling him in two directions, although the script seems unsure what to do with either of them.

Moss has a great eye for locations, nicely using settings in Mumbai and in both urban and rural Uganda. This gives the film the underlying authenticity that's missing from the script. Although using natural light for interiors leaves many scenes impossible to see. Also, the story's villains are stereotypes rather than characters, appearing and disappearing at random. And the crowd of undefined villagers leave those scenes somewhat unfocussed. But there are enough nice touches along the way to add interest. And hopefully Moss will spend a bit more time developing his next script.

themes, language, violence

22.Sep.19 rff