![]() But I think it’s more Fuqua beseeching Gyllenhaal and Riley Keough – as the voice of the desperate hostage – to embrace emoting to its fullest. Perhaps, as I said, I’ve seen this movie before. But in this version adapted by Nic Pizzolatto of “True Detective” fame, it feels less suspenseful and more manipulative. It’s the same scenario occupying the majority of the original penned by Möller and Emil Nygaard Albertsen. Joe's response, which should be met with cheers by every 911 dispatcher, is to advise the crybaby to “call an Uber.”Īt Weymouth Cameo: Simu Liu, Awkwafina are dynamic duo in Marvel's 'Shang-Chi'Īfter all, there are legit emergencies to attend to, namely the one involving the film’s centerpiece, a young mother claiming she’s been abducted by her estranged husband, held against her will inside his white van. We also observe him exhibiting zero patience with a drunken bicyclist demanding EMTs tend to his skinned knee. We get a sense of Joe’s sardonic wit, watching him smirk while suppressing the urge to laugh out loud. A visiting businessman (voice of Paul Dano) has been rolled by a “voluptuous” streetwalker and is cowering inside his rented Series 7 BMW. Naturally, Joe is about to become its microcosmic savior. Get it? American society has become a conflagration. The most glaring, literally, is Fuqua’s choice to expand the theme from one man’s troubled conscience to a larger critique of American law enforcement, best exemplified by the bright-orange wildfires ablaze on a wall of TV monitors inside a highly stylized L.A. But that’s the least of the film’s largely self-inflicted wounds. Typical of the film’s hefty strain on credulity, his day in court is mere hours away, leading you to wonder why he’d be working the overnight at 911 with such an important inquest on the docket. Instead of an air of muted dread, we get histrionics, mostly on the part of Gyllenhaal as Joe, an LAPD officer dealing with the lethal cocktail of a broken marriage, unchecked anger and an upcoming disciplinary hearing determining his future with the force.Īt AMC Braintree: 'Dear Evan Hansen' stumbles in jump from Broadway stage to big screen When you’ve built a career on the bombast of films like the Mark Wahlberg action flicks “Infinite” and “The Shooter,” nuance is as foreign as the Dutch spoken in Gustav Möller’s original. But if you have caught the original, prepare for a marginal letdown courtesy of Antoine Fuqua, a director utterly unfamiliar with subtlety. To them, the nail-biter set entirely within a 911 call center will arrive with its many intriguing twists and turns intact and unforeseen. ![]() I say this, of course, having had the benefit of seeing both films, an experience most Yanks won’t share should they opt to catch Gyllenhaal’s version when it premieres on Netflix on Friday, Oct. ![]()
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