THE DJINN (2021)

May 12, 2021

Greetings again from the darkness. Some of the best horror films are low-budget affairs, and David Charbonier and Justin Powell fully embrace this concept. As with their previous collaboration (THE BOY BEHIND THE DOOR, 2020), the production company partners are co-writers and co-directors on this latest – an effective “legend” thriller that plays like a live-action campfire story.

Ezra Dewey stars as 12 year old Dylan Jacobs, a mute boy who moves into an apartment with his dad (Rob Brownstein) after a tragic incident on “a quiet summer night in 1989” leaves Dylan without a mother. Dad works the graveyard shift as a disc jockey, so Dylan is left alone their first night in the new place. Dylan discovers a leather-bound “Book of Shadows” in the closet. Left behind by the previous owner – an old man who died in the place – the book has a chapter, “Wish of Desire”, which especially appeals to Dylan, who would love to have a “voice”.

As one would expect from a 12 year old, and just about anyone at any age, he doesn’t read the fine print in the book, and immediately prepares to perform the spell. All he needs is a couple drops of blood, some candles, a clock and a mirror. The only question is whether the spell will work with sign language. By this time, we’ve also learned that a previous lung operation has Dylan dependent on his inhaler when he’s stressed – something we horror fans recognize is going to happen not long after he lights that candle.

Of course this is no genie-in-a-bottle granting wishes. Nope, Dylan soon learns it’s a supernatural being that takes the form of those already dead – some Dylan recognizes and some he doesn’t. The Djinn is the “guardian of the shadow realm” and the challenge for Dylan is to stay alive until midnight while the entity tries to end him. What makes the film click is the performance of young Ezra Dewey. He carries the film on his back while, obviously, dialogue is not an option. Having a clever and quick-thinking young protagonist gives us someone to root for. The filmmakers wisely stage this confrontation within the confined space of this small apartment. DP Julian Estrada does excellent work and never resorts to trickery – we understand the floorplan and always know where Dylan is at any moment.

The 1980’s vibe is present via a boom box, phone cord, TV with antennae, dad’s pager, and composer Matthew James’ synth score. There is also the interesting contrast of Dylan’s inability to speak, and the Djinn spending much of the time without sight. The filmmakers take a simple approach to the story (the legend) and let Dylan fight his way to midnight as we squirm (and yes jump a couple of times). It’s a brisk 80 minute runtime and one that most horror film fans will appreciate, despite the cruel twist.

Opening in select theaters and VOD on May 14, 2021

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Posted by David Ferguson

WRATH OF MAN (2021)

May 6, 2021

Greetings again from the darkness. Cinematic Alert: Guy Ritchie has gone straight! That’s right, the filmmaker we’ve come to bank on for dynamic action, creative editing, and clever, rapid-fire dialogue laced with dark humor and outright hilarious, offbeat moments, has delivered a straightforward, by-the-book revenge-crime thriller. Of course, despite it being about as good as anything else in the genre, we just can’t help but feel a little (and maybe a lot) disappointed that Ritchie has shifted his approach and left us wondering why. After all, he’s the genius behind THE GENTLEMEN (2019), SHERLOCK HOLMES: A GAME OF SHADOWS (2011), and SHERLOCK HOLMES (2009), as well as his brilliant first two films: LOCK, STOCK, AND TWO SMOKING BARRELS (1998) and SNATCH (2000).

The film opens with an armored vehicle heist that ends in gunfire. This heist and the crew of criminals are the key to the story, and Ritchie utilizes his non-linear, multiple perspective story-telling technique to fill in the gaps for us and provide context to everything else that unfolds. Needless to say, there’s more to this heist than what we initially witness. Jumping ahead a few months, the next thing we see is Jason Statham as the mysterious “H” joining Fortico, the cash truck/armored vehicle company victimized in that early sequence. H is clearly wound tightly and not great at making friends … at least until his heroics thwart another attempted robbery and saves the lives of co-workers Bullet (Holt McCallany) and Boy Sweat Dave (Josh Hartnett).

H’s motivation is slowly revealed, as is the fact that he’s not such an outstanding citizen himself. However, it’s clear his mission of revenge is the most important thing in his life, and he’ll stop at nothing to get the person he’s after. His target is part of a criminal team of former military buddies that include Jackson (Jeffrey Donovan), Ian (Scott Eastwood), Brad (Deobia Oparei), and Sam (Raul Castillo), who want nothing more than one huge score so they can walk away and enjoy life. Other key members of Fortico’s staff are played by Niahm Algar, Eddie Marsan, and Rob Delaney. H’s contacts are played by Lyne Renee, Darrell D’Silva, and Andy Garcia, while singer Post Malone (billed as Austin Post) makes an appearance as a robber.

Filmmaker Ritchie is working with many of his regular collaborators. He co-wrote the screenplay with Marn Davies and Ivan Atkinson, and it’s based on the 2004 French movie, LE CONVOYEUR (“Cash Truck”) by Nicolas Boukhrief, Eric Besnard. Others from his usual team include cinematographer Alan Stewart, composer Christopher Benstead, and editor James Herbert. It’s not unusual to find Jason Statham bring his action expertise to a Guy Ritchie crime movie, but Statham really plays it straight here as he sets out to settle a score. The almost non-existent wise-cracking leaves us feeling a bit adrift due to expectations, but the result is a fine, action-packed movie with one excessively long shootout near the end. Ritchie has certainly earned the right to make the movies he wants, but in the words of main character H, “I do bear a grudge.”

Opens in theaters on Friday May 7, 2021

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Posted by David Ferguson

LOCKED IN (2021)

May 6, 2021

Greetings again from the darkness. The first feature film from writer-director Carlos V Gutierrez is a B-movie thriller with the rare cinematic setting of a self-storage facility. Now you might think corrugated metal doors on rollers and concrete walkways don’t add up to an exciting and picturesque filming location, and, well, you’d be right. However, Gutierrez uses the security cameras and maze-like corridors to generate some suspense, and he benefits from a cast that draws out every possible ounce of tension from the script.

Mena Suvari (from Best Picture winner AMERICAN BEAUTY, 1999) stars as Maggie, an employee at the storage facility, and mother to teenage daughter Tarin (Jasper Polish, THE ASTRONAUT FARMER, 2006). Mother and daughter are living in a rundown motel, and are about to be evicted due to non-payment. There is some family baggage here, as the husband/father is in prison, and Maggie is focused on finding religion to get beyond her checkered past. The last thing she needs is a night like she’s about to experience.

Bruno Bichir (younger brother of Oscar nominated Demian Bichir) plays Lee, Maggie’s boss who expertly plays the nice guy, while being a bit too obvious at keeping his own dark secrets. The film opens with the tail end of a diamond heist by two masked men, one who has an overactive trigger finger. Of course, the two thieves have a tie to Lee, and things go sideways quickly. Maggie and Tarin are trapped in a game of cat-and-mouse, and they don’t initially understand why. Multiple bad guys enter the picture, and Maggie leaps into protective-mother mode while dealing with Ross (Manny Perez) and Mel (Jeff Fahey), the masked men from the diamond heist. Fahey is always a fun bad guy to watch, and this time is no exception. Soon, a third party enters the scene – Harris (Costas Mandylor from the “Saw” franchise), creating an even more tangled web of deceit and danger.

The film leans a bit heavy on crying and tough guy posturing, but it also makes clever use of the security cameras, the stark corridors, and even candy wrappers. The movie succeeds at being what it is: a creative low-budget thriller with an entertaining cast.

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Posted by David Ferguson

IN THE EARTH (2021)

April 29, 2021

Greetings again from the darkness. Have you ever wondered why they warned concert attendees to stay away from the brown acid at Woodstock? I can only speculate, but I assume the poor souls who consumed the taboo drug experienced hallucinations not dissimilar to watching this latest from writer-director Ben Wheatley. Filmmaker Wheatley previously delivered such interesting and diverse fare as the intriguing horror film KILL LIST (2011), the confusing and bizarre HIGH-RISE (2015), and my personal favorite of his, the quite funny and action-packed FREE FIRE (2016).

Martin Lowery (Joel Fry, YESTERDAY, 2019) is sent to track down a doctor whose research may provide desperately needed help in fighting a virus that has wreaked havoc on the human race. Martin himself has been in isolation for four months prior to this mission. He teams up with Alma (Ellora Torchia, MIDSOMMAR, 2019), a Park Ranger who works out of a Lodge that has been closed for a year due to the pandemic. She will act as his guide on the 2 day hike through the dense forest to find the doctor.

As you would expect, the hike doesn’t go smoothly, and things turn very weird and dangerous when Martin and Alma cross paths with Zach (Reece Shearsmith, HIGH-RISE, 2015). He’s the ex-husband of Dr. Wendle, the one Martin and Alma are in search of. However, Zach is off the grid and off his (proverbial) rocker. He converses with the forest, which might possibly be his most normal action.

Dr. Olivia Wendle (Hayley Squires, I, DANIEL BLAKE) is finally located, and though she and Martin know each other, she seems quite intent on finishing her research in the forest. Back at the Lodge, Alma had filled Martin in on a local folk tale … the Spirit of the Woods, named Parnag. Most just call it, “the thing in the woods.” Are we to believe nature is evil, or is nature just fighting back against humans?

Written by Wheatley last year, the film shows the effects of a pandemic on some people and how trying to solve things through science may fall short. Paranoia, distrust, dread, and isolation from others are all at play here – and quite in line with our current state. A supernatural element hovers, but the psychedelic images keep us disoriented, and seem to exist for the sole purpose of visual effects. The strobes are so strong they could trigger responses from sensitive viewers, and if they don’t, the gore likely will. Cinematographer Nick Gillespie and composer Clint Mansell are standouts here, and though Wheatley is to be commended for his quick work, the film didn’t really click for me. Perhaps the two best comparisons are THE HAPPENING (2008) and the far superior ANNIHILATION (2018).

In theaters April 30, 2021

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Posted by David Ferguson

THE VIRTUOSO (2021)

April 29, 2021

Greetings again from the darkness. It seems to this casual observer that once a person makes the career decision to become a hitman (or hitwoman or hitperson), their life expectancy drops significantly, as does their willingness to trust any person they meet, or at least it should. After all, the industry of killing is all about death … it’s simply a matter of whether (this time) you are the one doing the killing, or the one being killed. This neo-noir comes courtesy of writer-director Nick Stagliano (his first feature film in 10 years) and co-writer James C Wolf.

Anson Mount (so good in the “Hell on Wheels” TV series) is the titular Virtuoso. In typical noir fashion, he’s also our narrator, and serves up a detailed explanation of his approach to the profession. He’s methodical and meticulous in his precision and planning, and goes about his business in a professional manner, while maintaining a low profile and adhering to his own code. He even practices his facial expressions in the mirror preparing for the rare social interaction (it’s funnier than it sounds). He does jobs for The Mentor (newly crowned Oscar winner Anthony Hopkins), a former military friend of his dad. Their minimal communication usually involves a name on a scrap of paper. The first job we witness is a “rush” job and collateral damage leaves Virtuoso burdened with guilt – something that is not an asset in this line of work.

It’s the second job that takes up most of the run time. The Mentor provides only “White Rivers” as a hint to the identity of the target, and instructs him to be at the only diner in a place that barely exists as a town. Walking in, he sizes up those in the diner: The Waitress (Abbie Cornish, excellent as Fanny Brawne in BRIGHT STAR, 2009), The Loner (Eddie Marsan, “Ray Donovan”), Handsome Johnnie (Richard Brake), and Johnnie’s Girl (Diora Baird). A bit later, the local Deputy (David Morse) is added to the list of possible targets.

The set-up is fun, and meant to keep us striving to stay one step ahead. Chris Perfetti adds a touch of humor in his two quick scenes as the motel desk clerk, and much of the tete a tete comes courtesy of the Virtuoso and The Waitress. Of course as with most noirs, we viewers figure out what’s going on long before the hero, as the distractions are many. The budding romance offers up some seedy motel lovemaking, and the Virtuoso has an unusual living arrangement in his cabin in the woods. In other words, there are some excellent elements in play here, and it’s difficult to pinpoint why the film doesn’t play a bit better than it does. Mostly it just lacks the suspense delivered by the best in the genre.

Streaming on Digital, On Demand

& Limited Theatrical Release on April30th in Dallas

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Posted by David Ferguson

DEADLY CUTS (2021, Ireland)

April 15, 2021

Greetings again from the darkness. If we have to depend on Dublin filmmaking for the year’s first stellar comedy, then so be it. This is the first feature film from writer-director Rachel Carey, but it certainly won’t be the last. Somehow she’s created a black and blue comedy that plays like a mash-up of ZOOLANDER (2001) and BLOW THE MAN DOWN (2018), two films I feel sure had not previously been mentioned in the same sentence.

Piglinstown is a small, working class community in Dublin … the metaphorical ‘other side of the tracks’. Michelle (Angeline Ball, THE COMMITMENTS, 1991) runs the salon, and is just one of the local business being threatened by gang activity and gentrification driven by greedy politicians. Michelle’s staff includes Stacey (Erika Roe, HERSELF, 2020), a stylist who believes winning an upcoming competition can not only save the salon, but also her dreams of finally being accepted by the mother that deserted her many years ago; Gemma (Lauren Larkin), the in-house amateur psychologist and therapist; and Chantelle (Shauna Higgins, “Red Rock”), a socially awkward wizard with hair color. It’s a motley crew of women who are stronger than they think, and display a camaraderie that defines small business and small towns.

The ladies embrace the upcoming “Ahh Hair” competition as their road to salvation, where a win would boost the salon’s reputation and make tearing the shop down for luxury apartments an unthinkable act. The problem is that the annual competition is consistently won by the posh shop where Michelle once worked before a catastrophic on stage occurrence many years ago. The high end shop is now run by her hilariously intimidating rival Pippa (Victoria Smurfit, “Marcella”). This becomes a bit of a parody of class distinction between Dublin’s north and south side.

But there is much more here than the hair styling competition. Some of the grit of the working class rears its head one evening when the gang leader threatens the ladies of the salon. One thing leads to another and soon the shop has earned its name, “Deadly Cuts.” Although crime and violence play a role here, the gore is minimal and mostly occurs off screen, and even packs its own level of humor. Ms. Carey loads up her script with a slew of one-liners, each expertly delivered by a cast that embraces the cinematic lampoon. “The hair tongs are heating up” is merely one example of what is broadcast by FAD TV during the competition. For a rollicking good time, check this one out … though you may need the closed captions unless your ears are in full Irish mode.

Featured at the 2021 Seattle International Film Festival

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Posted by David Ferguson

HELD (2021)

April 9, 2021

Greetings again from the darkness. Co-directors Travis Cluff and Chris Lofing previously collaborated on the horror film, THE GALLOWS (2015), and this time they are working from a script by Jill Awbrey, who also stars. It’s Ms. Awbrey’s first feature film as a writer or actor. Most people agree that marriage can be challenging, but this one introduces thrills and chills into a relationship that’s already navigating in choppy waters.

Writer Awbrey (a Julie Harris lookalike) plays Emma Barrett, who we see in an early flashback as a young woman trapped in a car with two men. We don’t see it, but we know what’s about to happen against her will. Today’s Emma is then seen again in the backseat … as her Uber driver (Rez Kempton) asks inappropriate questions, and comes across more than a bit creepy as he notes the remoteness of her drop-off and pressures her for a bonus tip. These two scenes remind us of how women must always have their defense mechanism on high alert around men.

Emma and her husband Henry (Bart Johnson, HIGH SCHOOL MUSICAL) have set up a rendezvous to see if they can rekindle what’s waning between them after 9 years of marriage. We get an aerial view of the ultra-modern and ultra-smart house stuck in a cornfield miles from civilization. The terror and mystery begin the next morning when Emma and Henry wake up in different clothes and with missing phones. A “voice” tells them that the secrets of their marriage are no longer secret, and they must “obey”. If not, the implanted sensor behind their ear will act as a shock collar, causing extreme discomfort and pain. Emma and Henry both experience this the hard way.

The film appears to be a VRBO home invasion movie wrapped in the contemporary issue of surveillance and security. However, that’s only part of the story. The “voice” is pushing the couple into a 1950’s version of THE STEPFORD WIVES, replete with veggies in the fridge, modest wardrobes in the closet, and an apron for Emma. She is being coerced into acting like a submissive wife, as if anyone today still fantasizes about a 1950’s marriage. It’s disturbing to watch as Emma and Henry try to find a way to escape, while not triggering another jolt of pain, and complying with commands from the voice (who seems to be Jigsaw from the SAW series transformed into a marriage counselor).

The objective here seems to be as satire and commentary on male privilege in a male-dominated society … one where women always carry a bit of fear, despite being so much stronger and forceful than what we saw in 1950’s TV series. That traditional marital structure no longer exists, but when combined with a luxurious smart house, does make for an interesting premise in the horror-thriller genre. When save-the-marriage transitions to survival mode on top of fear of being watched and manipulated, the terror is palpable. The only frustration is that so much more could have been done, over and above the twist. Despite the lags, the film does provide ‘talking points’.

In theaters and On Demand April 9, 2021

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Posted by David Ferguson

EVERY BREATH YOU TAKE (2021)

April 1, 2021

Greetings again from the darkness. Psychological Thrillers can be quite fun to watch when well-written and well-acted. It’s a delicate balance though, since if even one of those elements is lacking, the enjoyment level plummets and the eye-rolling begins. Unfortunately this film from director Vaughn Stein (TERMINAL, 2018) and screenwriter David Murray (his first feature film) is a masterclass in eye-rolling, despite a well-respected and familiar cast.

Oscar winner Casey Affleck (MANCHESTER BY THE SEA, 2016) and Michelle Monaghan star as married couple Dr. Philip and Grace Clark. He works at a Psychiatry Institute and she’s a local Real Estate Agent. An early scene shows adoring mother Grace driving their young son to hockey practice. Tragedy strikes, and since that night, Philip and Grace barely speak to each other or his teenage daughter (by another mother) Lucy (India Eisley, daughter of Olivia Hussey). All three are grieving in their own way – emotionally isolated from the others. Grace aggressively swims laps day and night in the pool at their stunning modern mansion. Lucy has been expelled from her private school for snorting cocaine during Science Lab. Philip immerses himself in his work with clients, and we know he’s smart because he’s wearing glasses.

One client with whom Philip takes a special interest is Daphne (Emily Alyn Lind, DOCTOR SLEEP, 2019), a troubled young lady from a troubled family. To help Daphne deal with boyfriend issues, Philip uses unconventional personal therapy, which he then presents as a Case Study for students … against the wishes of his boss and friend Vanessa (Veronica Ferres). This backfires when Daphne seemingly commits suicide, and her grieving brother James (Sam Claflin, THE HUNGER GAMES: MOCKINGJAY) shows up.

At this point, everyone is grieving and Philip’s career begins to crumble as he’s blamed for Daphne’s suicide. James turns on the charm for Grace and Lucy, and even though the characters don’t get it, every viewer will recognize what’s happening, why it’s happening, and where it’s headed. Even this would be fine if things played out in a clever manner, rather than over-the-top and obvious. Even the Rorschach inkblot tests used as artwork in the pristine Clark mansion are cause for eye rolls. Claflin probably has the most fun of any with his role, but it’s Monaghan who comes closest to molding a full dimensional human out of her character. Affleck just adds yet another despondent, joyless character to his resume … though he does get to throw one tantrum while sitting in his car – alone, of course. Fortunately, these actors will assuredly move on to projects more worthy of their talents.

In select theatres and premium VOD on April 2, 2021

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Posted by David Ferguson

NOBODY (2021)

March 25, 2021

Greetings again from the darkness. Revenge movies have long been popular because they let us live out the fantasy of getting even … a chance real life rarely offers. Of course, few of us actually cross paths with Russian mobsters or have a secret life that requires our government personnel file be redacted. But all of the above is in play for director Ilya Naishuller’s first feature film since his debut, HARDCORE HENRY (2015), an innovate POV action/sci-fi movie.

While watching this, numerous other movies kept popping into my head, but front-and-center were the JOHN WICK movies. It wasn’t until afterwards that I discovered this film’s writer was Derek Kolstad, the creator and writer of the first three John Wick movies to date. Knowing that leads to the obvious comparison of leading men – Keanu Reeves versus Bob Odenkirk. Yep, the same Bob Odenkirk who owns the Saul Goodman role from “Breaking Bad” and its terrific spinoff, “Better Call Saul”. And nope, he’s not as cool as Keanu, but it’s the risk of casting against type that prevents this from being same old, same old.

Odenkirk stars as Hutch Mansell, a suburban husband and father, working as a bookkeeper at the shop owned by his father-in-law (Michael Ironside, TOTAL RECALL, 1990). A brilliantly edited opening sequence shows us the daily drudgery of Hutch’s life. The rapid cuts tell the story of a man whose existence involves taking the bus to a dead-end job, filling his coffee cup, receiving little respect or affection from family, and yelling at the backend of a garbage truck. Things only get worse when, one night, intruders break into his home. His teenage son (Gage Munroe) springs into action, but Hutch freezes, and is viewed as weak by just about everyone.

It’s at this point where Hutch awakens – his secret past coming back to life. Now you might chuckle a bit at the thought of Odenkirk playing a man who once was so dangerous, he was known as an “auditor” … the last person you want to see at your door. Well, that’s not likely to be your last chuckle, because the over-the-top moments are just getting started. Hutch fights a group of thugs on a city bus, and the one that dies just happens to be the little brother of Russian mobster kingpin Yulian, played with gusto by Aleksey Serebryakov (LEVIATHAN, 2014). Like us, Yulian underestimates Hutch, and most of the movie is spent with every living Russian gangster trying to end Hutch.

Hopefully by now you have intuited that Naishuller’s movie is cartoonish in nature, and has no sense of realism or logic. If you’re not quite sure yet, you should know that 82 year old Christopher Lloyd (as Hutch’s ex-FBI father) joins in on the action – and I mean, he actually joins in on the shootouts. Think of “Mayhem” from the Allstate commercials and you get some idea of the exaggerated shoot ‘em up/ blow ‘em up nature of the action. Connie Nielsen (GLADIATOR, 2000) plays Hutch’s wife and RZA plays Hutch’s equally talented brother.

If one squints and twists, there is some insight into today’s emasculated male – those more likely to bake lasagna than take down an intruder. But mostly it’s just exaggerated revenge action in a way that mirrors John Wick, rather than DEATH WISH (1974) or STRAW DOGS (1971). Director Naishuller gets extra credit for poking fun at the never-ending ammo issue in most action movies, and it might have benefitted from a bit more humor along the lines of the kitty cat bracelet. Fans of the John Wick movies will likely find enjoyment here, but probably “nobody” else … especially those looking for Saul Goodman cleverness.

This film opens March 26, 2021

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Posted by David Ferguson

THE COURIER (2021)

March 19, 2021

 Greetings again from the darkness. Spies, and the whole world of espionage, are prime for cinema thanks to the globe-trotting and varied settings, the personality of those drawn to such a calling, and the intrigue and two sides of the work itself – either turning on those to whom one was once loyal, or even pretending to. Director Dominic Cooke (ON CHESIL BEACH, 2017) and writer Tom O’Connor (THE HITMAN’S BODYGUARD, 2017) enter the spy thriller genre with a strong cast and a Cold War setting … not the first to do so, and certainly not the last.

The film is based on a true story, so of course there are conflicting recollections of how this all went down. Oleg Penkovsky (played expertly by Merab Ninidze, McMAFIA, 2018) was part of GRU, the main intelligence agency of the Soviet Union. His front row seat to, and subsequent concern with, Soviet Premier Nikita Khrushchev’s apparent obsession with starting a nuclear war with the United States, led Penkovsky to reach out to the U.S with classified intelligence in hopes of thwarting global doom. This was the height of the Cold War, with the Cuban Missile Crisis ultimately a key element of Penkovsky’s intel.

Ambitious CIA Agent Emily Donovan (Rachel Brosnahan, “The Marvelous Mrs. Maisel”) reached out to MI6 Agent Dickie Franks (Angus Wright), who recruited British salesman Greville Wynne (Benedict Cumberbatch) to be their amateur spy … a regular citizen to conduct regular business while procuring valuable documents from Penkovsky. Greville is portrayed as anything but a James Bond-type. Instead, he’s a fun-loving family man whose wife Sheila (Jessie Buckley, I’M THINKING OF ENDING THINGS, 2020) has forgiven him once for marital indiscretion, and is not inclined to do so again.

This story occurred not long after Pyotr Semyonovich Popov was executed for delivering Soviet intelligence to the United States. Because of this, the CIA had a weak presence and required Britain’s assistance … enter Greville Wynne. Greville is an odd bird. One could even say a bit goofy. However, Cumberbatch delivers a terrific performance as he transitions into a more complex and courageous man than the one we initially meet.

Although the story is not as tightly told as the best spy thrillers, there are two segments that are pretty well done. Watching Penkovsky (code name “Ironbark”) and Greville get to know each other and then work together is quite interesting – and made even better by the two actors. Also the final act, with both men in KGB prison, finally ups the tension level to what we expect for the genre. The brutal environment and mistreatment is well conveyed, and it’s the point where we realize what the risk-taking of espionage can lead to. There are times the film is similar in tone to THE INFORMANT, and other times it recalls BRIDGE OF SPIES, though the latter is a superior film. This was a crucial point in the Cold War, and the film is interesting enough thanks to the cast and real life story.

THE COURIER is receiving a theatrical release on March 19, 2021

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Posted by David Ferguson

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