When motocross and heavy metal obsessed thirteen-year-old Jacob's increasing delinquent behavior forces CPS to place his little brother, Wes, with his aunt, Jacob and his emotionally absent... See full summary »
Fresh from prison, a street racer who was framed by a wealthy business associate joins a cross country race with revenge in mind. His ex-partner, learning of the plan, places a massive bounty on his head as the race begins.
In 1960s New York, Walter Stackhouse is a successful architect married to the beautiful Clara who leads a seemingly perfect life. But his fascination with an unsolved murder leads him into a spiral of chaos as he is forced to play cat-and-mouse with a clever killer and an overambitious detective, while at the same time lusting after another woman.
Struggling to recover emotionally from a brutal assault that killed her fiancé and left her in a coma, a radio personality begins a quest for vengeance against the perpetrators that leaves a bloody trail across New York City.
When David (Paul) and John Hall (Dillahunt) are riding in the SUV, when discussing Hall's leg injury, Hall states that after his surgery, he's "more metal than man at this point", followed by "Two years of physical therapy before I stopped walking like a zombie in one of those bad movies." This may be a reference to Garrett Dillahunt appearing as a Terminator in The Sarah Connor Chronicles (2008) and as John Dorie in Fear the Walking Dead (2015). See more »
At 1.12.00 (and elsewhere in the movie) Aaron Paul "cocks" what seems to be a 9mm semi-automatic pistol. Semi-automatic pistols don't need to be "cocked" the way single action revolvers do -- they are by moving the slide toward the hammer, which "cocks" it automatically. See more »
Barber's barber, Writer's Writer, Return of Jimmy Stewart
Enjoyable, engaging, captivating, suspense film.
But of course you did not take the time to look at this review to find out the obvious. You want to know more.
So here we go: Writer/Director Zack Whedon comes from a family where, instead of teaching the boys how to play ball or change a sparkplug, the parents taught their kids how to tell a story. (More on this can can found on the web.) The first breakout star from the siblings was Joss. Joss as in Buffy, Serenity, Cabin In the Woods, the Marvel Library and, for all I know, Genesis and Deuteronomy too.
So, my point, when looking at a Whedon film, if you want to look beyond simple entertainment value, you need to look for "influences." And this one is clear. Except for the last 2 minutes, this effort is the closest thing I have seen to an Alfred Hitchcock "Jimmy Stewart" story in over a half century.
Hitch understood completely - a lesson lost on most modern auteurs, young Whedon notwithstanding -- that the essence of suspense is to layer over it a romantic entanglement so as to get double the kick from the very same arc. All his films were structured this way.
It is a trick that very few have tried to imitate in this era but it works here, and works brilliantly. By the time the viewer realizes this is not a rom-com or relationship movie, this something else entirely, the trap is already baited and the hook is set.
Add to that some odd tricks with time juxtaposition (most of which work well, but not all of them) and you have a very engaging thriller.
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