Besides De Armas, the film also stars Chris Evans and Ryan Gosling, so the cast is worth watching for, but this also isn’t a movie that needs to be at the top of your watchlist. ![]() SKIP! – The Gray Man is one of Netflix’s biggest action movies, an action-thriller from Marvel vets Anthony and Joe Russo. It’s not the most groundbreaking thriller in the genre, but it’s serviceable and all of the actors do a great job, especially Kinnaman and the female lead, Rosamund Pike. The Informer is a 2019 crime thriller film following a soldier (Kinnaman) on a cover assignment to take down a crime boss. Here, she plays Joel Kinnaman’s wife, Sofia Koslow. In movies like this and War Dogs, she was mostly relegated to the wife/girlfriend role. Keanu Reeves, Lorenza Izzo, Ana de Armas, Aaron Burns, Ignacia Allamand, Colleen Camp.WATCH! – Prior to her breakout part in Knives Out, many of De Armas’ roles were on the thinner side and The Informer is a good example of that. Camera (color, widescreen, HD), Antonio Quercia editor, Diego Macho Gomez music, Manuel Riveiro production designer, Marichi Palacios art director, Fernando Ale costume designer, Elisa Hormazabal sound, Mauricio Molina visual effects, Rodrigo Rojas Echaiz casting, Sheila Jaffe. ![]() Screenplay, Eli Roth, Nicolas Lopez, Guillermo Amoedo. Executive producers, Keanu Reeves, Teddy Schwarzman, Sondra Locke, Peter Traynor.ĭirected by Eli Roth. (International sales: Voltage Pictures, Los Angeles.) Produced by Eli Roth, Nicolas Lopez, Miguel Asensio Llamas, Colleen Camp, Cassian Elwes, Tim Degraye. Running time: 99 MIN.Ī Voltage Pictures presentation of a Dragonfly, Sobras Intl. Pictures, Camp Grey production in association with Elevated Films and Black Bear Pictures. Reviewed at Sundance Film Festival (Park City at Midnight), Jan. Reeves, enduring constant abuse (and jokes at the expense of his hair), is a great sport. At one point, they tie Evan up and make him the contestant on a pretend gameshow, torturing him with loud music. The economical, satisfyingly nasty scenario would be nothing without Izzo and De Armas, who - in addition to having the staggering good looks the plot requires - play off each other with ace comic timing and palpable menace. This is the punishment for homewreckers, it seems. (Roth somehow makes this absurd menage a trois even more decadent by shooting some of it through fogged shower glass.) Starting the next morning, the women reveal their inner ids, making a mess of Evan’s kitchen and defacing Karen’s artwork. He puts up a bit more resistance to his visitors’ sexual overtures than Cassel’s character did, and there are amusingly preposterous explanations for why they can’t leave just yet.īut he gives in, letting the Uber cab he’s ordered drive off while the three of them have sex. The women flatter Evan, pretending he’s younger than he is and taking advantage of his nostalgia for his past as a DJ. Roth and his co-screenwriters tease out the flirtation more patiently than Traynor did. Roth), dripping wet from a dark and stormy night. ![]() AEnter Bel (Ana de Armas) and Genesis (Lorenza Izzo, aka Mrs. Reeves is Evan, an architect who, as he’s introduced, is about to have sex with his artist wife, Karen (Ignacia Allamand), when his children burst in to wish him a happy Father’s Day. Although no film in which two women play “monkey in the middle” with a man’s inhaler can quite be called mature, “Knock Knock” marks a step in that direction. (The available DVD, at least, is piss-poor.) It’s also nice to see the “Hostel” and “Cabin Fever” director ditching grossout tactics and working in a mode where the primary horror is psychological. Roth drops that film’s irritating theme song, stretches out the suspense of the setup, creates some smart plot possibilities using new technology, improves the ending, and in general adds elegance to what was a cheap-looking production.
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