On this page: BLACK MAIL | THE LEECH | THE RETALIATORS

< < I N D I E S > >

Arch dialog also puts a bad strain on the cast members, but most of them manage to make the characters believable and even sympathetic. Ukeje has terrific presence as Ray, a hapless guy who struggles to make the right decision in almost every situation. But the actor adeptly reveals Ray's heart, and connects strongly with the sharp, likeable Holden. While Ray and Nikki have engaging layers, most of the others are fairly one-note. Although Shulik at least balances Igor's vile thuggishness behaviour with a hint of vulnerability.

Emphasising the film's cautionary nature, the hackers explain that only someone with something to hide would reply to a phishing email, and only someone with something to lose would reply angrily. Meanwhile each villain is at the mercy of the person above them in the power chain. The central topics here, from internet crime to human trafficking, are so urgent that it's always worth raising awareness of them. So it's a shame that this film lays on its message so thickly, while resolving hugely complex situations with a wan smile.

themes, language, violence

21.Aug.22

Skipper strikes a nice balance between David's two inner voices, a thoughtful man determined remain a good guy. But he's only human, and he insinuates the ways he has been scarred over the years. Both Terry and Lexi are full-on caricatures, respectively boorish and goofy. Jeremy and Taylor Gardner play them just a bit beyond full-pelt. The only other character on hand is the church pianist, an intriguing role nicely underplayed by Garay. He's the one who notices that something is very wrong here.

There's a wonderfully warped parallel as David regales Terry and Lexi about the story of Mary and Joseph, who of course were expecting a baby with nowhere to live. But Pennycoff takes a deliberately abrasive approach that bristles with anger, as each character boils over into violence. This makes everything turn increasingly crazed, leading to some jarringly incoherent hyper-violence. And then there's the perhaps gratuitous conflation of religion and mental illness that, if it's the film's point, is startlingly nihilistic.

themes, language, sexuality

23.Aug.22

Even with the blunt dialog and interaction, the actors are encouraged to deliver larger-than-life emotive performances. Lombardi brings out Bishop's inner struggle, a religious man who preaches peace but is grappling with his vengeful urges. Even when he's fighting for his life, he hesitates to be cruel, although that might only be a split-second pause. Other characters are far less defined, but they add vivid angles to the story. This includes a series of achingly cool cameos.

At the very start, a voice asks when the sins of a good man make him bad, hinting that there is more to this than meets the eye. Indeed, the question is whether getting even actually heals someone at all, or if it only succeeds in transforming them into a monster too. This idea becomes a seriously mixed message as the film encourages us to cheer each aggressive act of vengeance. But the filmmakers are having far too much fun creating extremely grotesque moments to notice.

themes, language, violence

15.Sep.22