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Performances are similarly heightened, adding enjoyably to the film's arch sensibility, which makes it's fun to watch even if it's impossible to identify with anyone. Westwick's hapless lad is grounded enough to be likeable, the only character who acts like a human being. Linton makes Catherine a relentless diva who wears diamonds and high heels when she's lounging around the house, changing into another glamorous gown for each scene. Her best moments come when her mask drops, as it were. And yes, they're very cute together.

Clearly, the point here is that this is Catherine's idealised version of her life, where she is in complete control of everything from work and home to the dumb men she literally has for dinner. Of course, her real problem is unrelated to her murderous impulses: she's terrified of intimacy. Similarly, as a filmmaker Linton is always more interested in the witty banter, which often breaks the fourth wall to make an absurd point. And it's silly and snappy enough to be a guilty pleasure.

themes, language, violence

12.Apr.21

Performances are somewhat heightened, as characters butt heads and share their arch anecdotes. Some of them are also clearly freaked out by the accounts they hear. Mitte is terrific as a guy trying to hold in his emotions as he tries to get his story out in the face of deep resentment from Paul. It's a layered, intriguing performance that holds the attention. Outerbridge is solid as the angry Paul, who takes all of this very seriously, while Millen gets a bit more to do as a guy with some nasty secrets.

While there's not much to it aside from the cleverly constructed plot, the attitudes, charged dialog and riotous grisliness keep the film entertaining, playfully hinting at how the tales will weave together to suggest something urgently imminent. Where the overall plot goes is more involving for what remains unsaid, including some subtle touches that catch the characters off guard and hint at deeper bonds. And the overwhelming darkness that surrounds these men adds to the oppressive gloom as we know something even more unsettling is coming.

themes, language, violence

17.Apr.21

The late Palazzolo has an engagingly offhanded persona as the rebellious Manny, likeable and cheeky. By contrast, Warner's Russ takes everything terribly seriously, sometimes struggling to get the joke. There's strong chemistry between the actors, even when small resentments gurgle up. And things get much more spirited when Hobson's charismatic Byron turns up. Hobson has a particularly strong spark of camaraderie with Palazzolo. Thankfully, Warner never lets himself be sidelined by them, which ultimately creates an involving balance.

Even with the script's nonstop string of words, there's an effortless flow as the dialog shifts from topic to topic, mood to mood. And the rolling series of sun-dappled winery settings keeps everything moving forward. Tiny arguments and micro-aggressions are actually expressions of closeness between Manny and Russ, even though they misread them. Most interesting is how this threesome forces Manny and Russ to be intimate with each other again, opening up far deeper emotions than they expected.

themes, language

19.Apr.21