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Greetings again from the darkness. How quickly we make assumptions and judge the actions of others. We all do it, and writer-director Michel Franco (NEW ORDER, 2020) seizes on this common human trait in this unconventional film centered on a man who simply doesn't act like we expect him to. Because of our tendencies to judge, Franco is able to confound, even frustrate us, by slowly revealing details that we wouldn't have guessed.

To pull this off, the filmmaker needs and receives a tremendous performance from Tim Roth. The actor takes a much different approach than his usual animated tic style, and here is exceedingly understated ... so much so that we are a bit uncomfortable watching him. He rarely speaks and seems distant from the others. The film opens with a family vacationing in Acapulco. They are clearly well-to-do folks, as evidenced by the stunning resort suite. Neil (Mr. Roth) and Allison Bennett (Charlotte Gainsbourg) are on holiday with two older kids Colin (Samuel Bottomley) and Alexa (Albertine Kotting McMillan). Our assumptions about what we are seeing are in full bloom, and that continues when Allison receives a call about a family tragedy.

As the family frantically packs and rushes to the airport for an early flight home, Neil claims to have left his passport at the hotel and will catch the next flight home. Instead, the film and Neil take a much different path ... one that leads to Neil becoming even more withdrawn. He moves into a cheap motel and spends his time lounging on the beach with a bucket of Coronas by his side. He befriends Berenice, a local played by Iazua Larios. Yet even then, Neil puts forth little effort to communicate. We keep asking, "What is wrong with him?" "What is he doing?" These are the same questions Allison asks when she returns to confront him.

As viewers, we are constantly revising the conclusions we previously jumped to as the details slowly eek out. This will likely cause frustration for some viewers, especially since Neil is not a likable guy - he just gives us nothing to relate to. Checking out from the pressures of one's life is never as romantic as it might sound, yet Neil seems extremely comfortable with his decisions. Class and cultural differences are at play here, and it's possible Roth and the film are at their best when answers aren't being provided. At least that's when the most tension is present. Franco's film is an unusual one, and certainly not one that everyone will appreciate, but he and Roth give us plenty to digest.

Opening in select theaters on January 28, 2022.

Unusual, interesting film that doesn't fully succeed to be what it is until it ends. That finale causes everything that occurred earlier to make sense, but this will be a slow go for those seeking more immediate answers to the puzzling behavior of the lead character, excellently portrayed by Tim Roth. The entire cast is fine, but it is his show. Ultimately, a touching, intriguing film for the patient.

SUNDOWN is a new psychological mystery drama from director Michel Franco. The story follows a wealthy British family who is vacationing in Acapulco when a distant emergency disrupts their plans. The simmering tensions between the group members come to the fore as they try to figure out what is going on and how to deal with the situation. Tim Roth and Charlotte Gainsbourg give strong performances as the patriarch and matriarch of the family, respectively. The rest of the cast is also excellent. The film is slow-paced and gently suspenseful, with plenty of twists and turns to keep viewers guessing as to what is at the heart of the trouble in this family.

The dialogue in SUNDOWN is sharp and intelligent, with the characters often engaging in heated exchanges that reveal a lot about their relationships. The dialogue is one of the highlights of the film, as it allows the viewer to get a sense of who these people are and what they're going through. There are also some very funny moments, which help to lighten the mood in what is otherwise a tense film.

The cinematography is beautiful, with the sun-drenched Acapulco setting providing a stunning backdrop for the film's events. The use of light and shadow is also excellent, creating an atmosphere of suspense and foreboding that adds to the film's overall impact.

Themes such as family dynamics, secrets, and betrayal are explored in SUNDOWN, making it a thought-provoking and emotionally resonant film. The slow pacing may be a challenge for some, but those who stick with it will be rewarded with a complex and rewarding experience.

At the beginning, say, 20 minutes into the film I, like probably everybody else, kept thinking what an asshole. Right in the middle I made a decision I never want to be really rich or go to Mexico, even on a short holiday. At the end I realized it was the best film about the fear of death I've ever seen.

An incredible character study masterfully played by Tim Roth. SUNDOWN is a slow burn but beautifully shot, regardless of the paradisal surroundings. Those surroundings, ironically become more and more uncomfortable, too, as that burn starts to get hot, but never scalding.

Even though the mystery of Neil increases, there is never that "aha!" moment. That Roth expected diatribe shouting out the why's and wherefores in that incredible London accent of his. Instead, SUNDOWN provides a lazy tale of maddening degeneration, domestic beer, and, just perhaps, true love.

Totally worth watching. And totally entertaining. Totally wish, though, that the resolution was equally compelling.

Sundown is a film that I find difficult to explain why I enjoyed it. It's definitely not for everyone, but I was pleasantly surprised since I expected it to be more on the pretentious art film side of the spectrum.

I didn't know anything about the main character at the beginning of the film, and slowly discovering more about him over the course of the film was really interesting. The pacing is consistent, although for some it may be a bit too slow, with entire scenes that have no dialogue. I personally thought this made it feel more authentic, as there were no forced conversations for the sake of drama.

It's very much a drama, but there was an element of mystery there. In the beginning, I didn't understand the motivations of Roth's character, I didn't understand the full scope of what they were going through. Piecing it all together as the film progressed was very rewarding, and the ending gave more closure than I was expecting (movies like this tend to end abruptly).

It's a 7.5/10 for me. I wouldn't recommend it to those that like plot heavy movies or dislike character studies, but I enjoyed it far more than I was expecting.

I watched a film that wasn't there. It wasn't there again today. Oh how I wish it would go away. (With apologies to WH Mearns.) This is indeed the absence of a film rather than a film. I stared blankly at the screen while I watched and the screen stared blankly back at me. Wait, I thought, any moment something will happen, I see it in Roth's eyes, I feel it in the air. So I waited. And I waited. And I waited. Roll end credits.

Now don't get me wrong. I can appreciate slow films, Last Year at Marienbad is among my favorite movies. But this one I found simply boring. Some people clearly like it though. De gustibus non disputandum est. An extra point just for Tim Roth raises the score to 2.

Playing with the audience's expectations is the name of the game. We, the audience are constantly misdirected not by the film makers but by our own biases. It's an interesting concept and I'm glad there's room for challenging films like this in a sea of Hollywood tripe. An example is Tim Roth's performance, the diametric opposite of what we expect from him. Another is the family relationships, we assume we are watching one familial dynamic only to have our expectations subverted. Even when the familial order is explined by the protagonist, Roth, we assume he is lying. It's a scene where the customery hyper active Roth performace is glimpsed so we automatically think he is lying. It's inteligent film making.

Having said that this movie is a little too self conscious and way too earnest, trying a bit too hard to be a European art house flick. It also doesn't paint Mexico in a very good light either and begs the question; why would Uber wealthy Brits holiday there when the world is full of exotic but safe destinations? Why would they holiday on the other side of the World when a close relative is at death's door? Why do they fly with commercial carriers instead of private charter? Plot holes like these trouble me.

Great that Director Michel Franco edits Story so everyone will be left to draw their own conclusions of Why NEIL (Tim Roth) deserts his Family.

Family Crisis aside, I think he was in a deep depression from Frame one. And as Turns out had another Issue. Acts Like he is just Floating along. The authentic Filming Locations in Mexico are Key, Mostly Beautiful but some Grim. Have your thinking cap handy ?

The story is quite confusing, as things are not explained at all. We have to guess who is who, what is happening, etc. Things only become slightly clearer at the end, but there are still a lot of questions.

When I watched New Order a few days ago, I immediately realized that I had to explore more of Michel Franco's career. Sundown is a very different film, yet it has many similarities. Both films are grounded in a high degree of realism, being very raw in their approach. They don't reveal all their cards on the table. Violence is present in both works, as well as some nudity, showing that Franco doesn't shy away from shock value. The classism and the division between rich/poor are also very much at the centre of both movies. But above all, there is always some ambivalence and decisions that leave us pondering in both movies. They are not narratively perfect films - both could go further in terms of plot and exploration - but they are films that stick in our minds.

Tim Roth does an excellent job here in a difficult role, and Iazua Larios and Charlotte Gainsbourg also contribute to this being firmly grounded. Franco films without haste but always with intention. He makes use of beautiful landscapes and a cinematography that occasionally presents stunning images, but the calmness apparent in his films always seems ready to end at any moment with the biggest bang. I would call it a blend of European cinema influences with a shock value characteristic of the American latitudes below the USA. Another work of him that I admire and certainly a career that I will explore more and keep an eye on what comes next.

Sundown is a profound movie with Albert Camus' L'Étranger parallelisms. A character study of a man who, taken at face value, social conventions don't seem to have any value anymore after he decides against attending his mother's funeral and instead opts to stay in Acapulco, where he and his family were vacationing.

The portrayal of the events in the movie flows seamlessly in scenes where calmness speaks as the inner voice of someone nonchalant that won't be understood by anyone who sees in the challenging of the expected behavior not inner causes that need to be understood, but an enemy that has to be fought. The absence of dialogue in many scenes makes the conversations feel natural and real instead of forced or overdramatic. The imagery also has that calming quality to it. The protagonist, most of the time, is on the beach at ease.

Sundown is an existential exploration worth seeing. Tim Roth is fantastic in this role.

A second Franco stinker after his nihilistic New Order. Crushingly dull. Mostly we watch Roth's character drink beer at the beach or by a pool, and feel zero connection to him or the threadbare plot.

Well there is way more to it than that. And hopefully you either let my Blockbuster stinger slide by (if you recognized it) or do not care or compare it to Spiderman or anything like that. Because this is as far removed from anything remotely in that big budget category. But if you see the movie, you will get the pun.

Having said that, this drama we have right here is really good. I had no idea what this would be. One of the main reasons was because I watched it at a sneak preview. The other would have been that I don't read about movies I am about to watch anyway. And I was lucky enough to not have to sit through a trailer.

So the beginning of the movie had me guessing as to where this would lead. A family drama? A personal drama? Who is the main character in this? It seems to be one person and than we kind of find out it is another. And as subtle as that shift in focus is - the pace will not change. So if you do not like how this evolves, if you want to call it that, you can figure that out in the first 10 minutes.

Anyone else who sticks with it ... will get a slow burn! No pun intended! And a human that might be relatable to you - depending on how you view the world. Considering what we are about to find out, some will envy him, but at the same time also be happy not to be him. A strange mix, I know - but one that is apt.

Actions also speak louder than words. So while he is saying one thing, he clearly is doing something different. What is his motivation, if any you ask? Well the movie will let you figure that one out yourself. Still it is tough to convey certain things. Or have the movie delier all the answers. The ever so great Tim Roth (who looks great and plays even greater) is as minimal as he can be. Some may feel he is without feelings - but yet there lies passion in him. But minimalistic - he does not seem to care about most things ... which is something that is coming in handy towards the end ... a weird movie that seems to have few to no conflict ... and yet is able to deliver on tension and us wondering what is up next ... and why!

As "Sundown" (2021 release from Mexico; 83 min) opens, we are in Acapulco, where a band of Brits, Neil and his sister Alice and her two frown-up kids Colin and Alexa are enjoying a vacation. Then one day Alice gets a phone call from her mom, telling her she is not well at all and going to the hospital. The group decides to immediately return to Britain. At the airport, Neil informs Alice that he forgot his passport at the hotel, and Alice and her kids leave without him... At this point we are 10 minutes into the movie.

Couple of comments: this is from Mexican producer-writer-director Michel Franco ("Memory"). Here he brings a character study of a man who seems to go through a midlife crisis (late in his life). The movie simply observes as we see the Neil character go about his day-to-day. Even though it is primarily an introverted character study, there are quite a few plot twists, so the less said, the better. Tim Roth is outstanding as Neil. If you expect to see a lot of Charlotte Gainsbourg (as Neil's sister Alice) in this movie (as I did, going in), she does not play a large role. Last but certainly not east, much of the film takes place in Acapulco, which feels like a character in this film in and of itself.

"Sundown" premiered at the 2021 Venice film festival, and then pretty much disappeared after a very short and limited US theatrical run. I was not familiar with this movie at all, and simply stumbled on it while browsing Hulu for something good to watch the other night. Any film starring Charlotte Gainsbourg is worth checking out in my book. "Sundown" is currently rated 77% Certified Fresh on Rotten Tomatoes, in large part a recognition of Tim Roth's outstanding performance. If you are a fan of either Tim Roth or Charlotte Gainsbourg, I'd readily suggest you check this out, and draw your own conclusion.

"Sundown," directed by Mexican filmmaker Michel Franco, is a slow-paced film with a perplexing protagonist. Starring Tim Roth in his second collaboration with Franco, the movie immerses us in a dual Acapulco: a tourist paradise on one hand, yet a place marked by violence and poverty on the other.

The story begins with Neil (Tim Roth), a British man enjoying a vacation in Acapulco with his sister and nephews. The Bennetts are heirs to an empire built on pig farms. However, when they receive news of their mother's death, the dynamic shifts. While Alice and the kids hurriedly return to Britain, Neil, under the pretext of having lost his passport, chooses to stay behind. This act marks the beginning of his strange retreat: he abandons the luxurious hotel where they were staying and settles into a modest, dangerous neighborhood in the city.

Neil is a selfish and distant character, someone who discards not only material possessions but also human relationships with an almost absurd lightness. Why would a man with so much at his disposal opt for nothing? Franco offers no clear answers, and that ambiguity is both the driving force and the challenge of the film. Neil's detachment suggests a central idea: inertia can be a form of movement, a silent escape from a life that overwhelms him.

Michel Franco uses Neil as a distorted mirror to reflect on alienation, privilege, and the fragility of human connections, all set against a Mexico pulsating with beauty and brutality.

While at times I might wish Franco provided more context about Neil's motivations, that very ambiguity is what keeps the film lingering in your mind long after the credits roll. It's a fascinating character study that prompts reflection on the twilight (of life).