#jblakeson

[doohicky]

Modern day Cuckoo's Nest with capitalism as nurse Ratched - I Care a Lot (court appointed American Dream by Thelma & Peter Dinklage) #icarealot #jblakeson https://www.instagram.com/p/CLh3swhFn53/?utm_medium=tumblr

[doomonfilm]

Review : I Care A Lot (2021)

Here we go again, discussing whether or not a Netflix original film can stand up to the same level of judgement that your standard box office fare does.  This week’s contestant looks like it may have what it takes to stand up to the scrutiny, which is definitely a good sign for Netflix as a production house and tastemaker.  The film is question is the J Blakeson film I Care a Lot, which looks like another winner for leading lady Rosamund Pike.

Marla Grayson (Rosamund Pike) is a slick talking opportunist who makes a living by taking over the guardianship of elderly people and draining them of their finances and valuables.  With the help of her assistant Fran (Eiza González), Dr. Karen Amos (Alicia Witt), Judge Lomax (Isaiah Whitlock Jr.) and a handful of others, Marla pulls the trigger on what feels like the whale of all whales : an elderly woman named Jennifer Peterson (Dianne Wiest) who seemingly has no immediate family and plenty of wealth tied to her name.  Unbeknownst to Marla, however, her actions raise the ire of Roman Lunyov (Peter Dinklage), a ruthless gangster with an endless network of resources and a burning desire to have his property returned to him.  Lunyov and his associates apply pressure to Marla, but the resulting plays for power turn out much more difficult than either side intended or imagined.

On the page, the exploitation of the elderly may not seem like the fodder that film dreams are made of, but framing this with the construct of a capitalist cult infuses a sinister uniqueness into the story.  The sheer vastness of parties involved in the hustle, including judges, elderly care, medical professionals, realtors and even fences is mind-blowing, but wholly believable based on the reality that news media presents us with on a daily basis.  The evil element comes in the form of legislative logistics and red tape in a manner that truly illustrates how the pen is mightier than the sword in some cases.  A bit of the King Midas element is sprinkled on top of everything, which leads Marla Grayson right down a self-sustained path towards destruction simply because she doesn’t know when enough is enough, or when a threat is a legitimate one rather than a hurdle.

Having a film absent of good guys that isn’t centered around cars, guns or war is a positive stroke, as it tosses out the need for justification of actions while setting up the viewer for an absence of expectations.  This absence of expectations creates some of the freshest tension I’ve had the pleasure of experiencing, as the lack of scruples across the board makes any action (and subsequent reaction) fair game.  The chess of human lives escalates rapidly as the story unfolds, quickly moving from threats of manipulative force into the realm where human lives are the cost of bad business.  The direct connections made between the traditional criminal underworld and the paper-pushing criminal eradicate any fraction of right in the “right and wrong” debate that often arises when attempts to justify crimes are made.

The general dark nature of the film is offset by a multitude of production aspects that radiate, giving the story a sense of energy and momentum.  For starters, the overall warm color timing and film grain look, along with a 1970’s style title card, give the film an exploitation look and feel that makes it hard to pinpoint the time in which the story takes place.  The style choices, mainly hair and wardrobe, further the vagueness of the setting, while also standing as a statement on how the bad guys are sometimes hard to pinpoint strictly off looks.  All of this warmness is offset by the heavily synthesizer-driven score, which builds tension and unease even when the score is high tempo.  The cinematography is kinetic without being overly flashy, and in tandem with the aforementioned warmness, creates a visual unease that is as slippery as the main players in the game.

Rosamund Pike gets to flex the tough guy role in a way that many women are not given the opportunity to do in film, and she navigates those waters with all the aplomb of a seasoned veteran and cunning shark.  Eiza González stands firm as a sidekick, making up for an absence of toughness with the blind devotion of a ride or die partner.  Dianne Wiest is interestingly layered, seeming like a sweet old lady at first, but quickly revealing that she is as dangerous and cognizant as the elements that satellite her.  Peter Dinklage exudes the frustration of a man with extreme power up against a foe that should be easily defeatable, and yet, persists well past extreme means.  Chris Messina steps in with slick talk that seems effective, but is no match for Pike’s energy that fills her Marla characterization.  Nicholas Logan displays a lackey driven by parallel fears of failure and punishment to the point where he becomes an extension of Roman Lunyov’s rage.  Appearances by Macon Blair, Isaiah Whitlock Jr., Damian Young, Alicia Witt, Georgia Lyman and a handful of others help bring the mad world of I Care a Lot to life.

I don’t want to declare Netflix as having found the formula just quite yet, but in the spirit of giving credit where credit’s due, I Care a Lot must be praised for both its entertainment and production value.  Films such as this one will certainly help eradicate the discussion of quality that arises when the Netflix association to a film comes up, and honestly, that’s how it should be anyway… a film should be appraised by what it is, not by who delivers it to you.  If you care a lot (pun intended) for modern cinema, then set a couple of hours aside for I Care a Lot.

[nightjunkieclothing]

NOW PLAYING: #THEFIFTHWAVE The human race stands on the brink of extinction as a series of alien attacks decimate the planet, causing earthquakes, tsunamis and disease. Separated from her family, Ohio teenager Cassie Sullivan (#ChloëGraceMoretz) will do whatever it takes to reunite with her brother Sam. Fate leads her to form an alliance with Evan Walker (#AlexRoe), a mysterious young man who may be her last hope. Forced to trust each other, Cassie and Evan fight for survival during the fifth assault from the invaders. Release date: January 22, 2016 (USA) Director: #JBlakeson #nightjunkiemovieclub