The G

From the look of the posters, this ought to be a film about a Polish gangster! Instead, it's about the curmudgeonly, vodka-swilling, "Ann" (Dale Dickey). It's really only her grand-daughter "Emma" (Romane Denis) who takes any interest in her as she goes through life with her incapacitated husband "Chip". Asleep one night, their home is invaded by people armed with a court order that puts them into a legally binding guardianship arrangement. This basically says that they are incapable of managing their own affairs and have to have someone else take control. Nobody asked anyone to do this, nor did the couple know of the court proceedings supporting it. It was all down to a dodgy doctor on the payroll of "Rivera" (Bruce Ramsay) who had his eye on their condo and their savings. Now locked inside their new apartment, she is determined to get out - especially as their new hosts can prove quite violent when it comes to making sure that they have squeezed out every penny the couple have. What "Rivera" doesn't count on, though, is that "G" has a bit of an history when it comes to looking after herself. What follows next is all a bit procedural and though Dickey is clearly having some bad-ass fun, the main thrust of the story is really the outrageous scenario that it represents: that some states in the US allow people to be summarily removed from their homes, and from control of their assets, by anonymous third parties fuelled by greed and palm-greasing. It's worth a watch, but the television will do fine.

The G is one of those redemption type movies that makes you happy to see the end result as the people involved you route to get taken down. Dale dickey plays anne, a lady that has to look after her husband but she has a bit of mystery surounding her. She gets a visit from her granddaughter but then things go wrong. Both are taken against their will and held in a sort of home for the elderly but they are not good people there and soon anne finds herself wanting to get out while her granddaughter tries finding her. This film makes you feel angry, then happy and you want the best outcome to happen. Overall the g was a pretty good crime drama.

The best part of this movie is Dale Dickey as "The G" because honestly, if you removed her from this movie it wouldn't be very good at all. Her performance elevates a not so great script and a kind of confusing story with a few too many twists and turns. While the other actors are all OK, no one stands out, leaving Dickey to shoulder the entire film and considering what a great actress she is, she handles it to perfection. The story is an interesting one, there is character development and she has some great lines, but at times I was just left confused. It didn't help that casting made the mistake of using two shaved head actors with beards to play parts that had me wondering what was going on until I realized it was 2 different actors in different roles. If you are a fan of Dale's this is worth watching, just don't expect anything worthy of her talent.

Karl R. Hearne's The G is a cinematic tour de force that defies expectations and leaves an indelible mark. This dark thriller is a masterclass in storytelling, thanks to Dale Dickey's exceptional performance.

Dickey is simply electrifying as Ann, a woman forced to face the harsh realities of aging and exploitation. Her transformation into a fearsome avenger is both terrifying and exhilarating. Hearne's direction is masterful, creating a world with a visual style that perfectly complements the tone of the film.

The film's exploration of ageism, power dynamics and resilience is thought-provoking and deeply resonant. The G isn't just a revenge fantasy; it's also a poignant commentary on how society often treats its elders.

From the opening scene to the shocking climax, The G is a film that demands to be seen. It's a cinematic experience that will stay with you long after the credits roll. Hearne has created an unforgettable character in Ann.

The G is a must-see for fans of bold, uncompromising cinema.

The scores tell you there's a normal distribution around 6 or 7 but then an anomaly of 10s for those discerning viewers. It's in a genre of amateur mobster but there are so many real characters and unpredictable twists and turns that set it apart from the masses. The supporting characters are complex in their combinations of attributes, not one dimensional or just incompetent or untrustworthy. The story has intertwining and overlapping paths that confuse and confound all the participants. The backstory is of a typical American modern reality of gangster capitalism backed up by the law and the courts, we can expect a growth in this type of industry with the second Trump presidency, which might at least as a byproduct produce some more angry films like this.