Doce Virginia

The score of the film is great creates the perfect atmosphere, the performances of all the actors individually are very good and it's a very good but very short slow burn. Despite that when it all comes together the end result and overall story just doesn't feel worth it despite the majority of individual components working very well together it just came out a bit average. I doubt I'll remember having watched it in a few years time but it certainly wasn't bad. Just okay.

Pros: Scenario 6/10 (Terse script, plain scenario not complicated, no plot holes but nothing that we haven't see before... not much character analysis, covered by good acting though) Direction 7/10 (Jamie Dagg made a good dark Neo-Noir/Neo Western thriller) Cinematography 7/10 Jon Bernthal 7/10 Christopher Abbott 8/10 (Really convincing as a psycho character... scary convincing!) Cons: Actually I found no important weaknesses in this movie. Nice movie. 7/10 by me.

Overall this isn't a bad a movie; it's good, but not great. It's certainly worth the hour and a half you'd spend watching it. Cool ideas and themes, some gripping action, and some decent performances (for the most part) make this film passable. It may be predictable, but it sure isn't boring.

Greetings again from the darkness. Murders-for-hire evidently have a better success rate in real life than in movies, because cinematically speaking, they usually result in quite the mess for all involved (and some who aren't). Fresh off the 2012 Black List for best unproduced scripts, the screenplay from twin brothers Benjamin China and Paul China offers up a neo-noir with a familiar enough premise in a not-so-familiar setting.

Director Jamie M Dagg offers little chance for us to settle in, as a violent and seemingly senseless triple murder occurs within the first few minutes. We get our Bang Bang, with the Kiss Kiss soon to follow. The usually friendly game of poker among friends goes south quickly thanks to Elwood (Christopher Abbott, IT COMES AT NIGHT), a stranger in town. We soon enough learn that he is in town on "business", and now that the job is done, he expects to be paid.

Elwood not-so-patiently awaits his pay day while staying at the Sweet Virginia Motor Motel. It's a simple inn inherited by, and now run by, Sam Rossi (Jon Bernthal) – a former rodeo star who these days battles multiple physical issues with pain dulled only by his morning weed ritual, and an ongoing affair with one of the ladies recently widowed by the Elwood's gun. Sam is shaggy looking, mellow and quite a pleasant fellow who seems like many in this quite small Alaska town … living here for the solitude and anonymity.

Imogen Poots plays Lila, and Rosemarie DeWitt plays Bernadette. Their unhappy marriages of 3 and 18 years respectively have ended abruptly, and while neither is much into grieving, they both have new problems with which to deal. There is an unusually scarce police presence given that a triple homicide of local citizens has just occurred, but the focus here is on the four main characters, and especially on the two men.

Elwood is exceedingly high-strung and prone to violent outbursts, while Sam is congenial to all, and generous with his time and advice to local high schooler and motel employee Maggie (Odessa Young). To ensure that no viewer is left behind, there is a diner scene that emphasizes the polar opposite personalities of Elwood and Sam. Rather than pack the intended punch, it mostly just comes across as obvious and unnecessary. And that in a nutshell, is what keeps the film from being a bit more intriguing.

While there is not a lot of excess talking, death hovers over most scenes and conversations. The connection between Sam and Elwood marks the sometimes easy bond of strangers, while the fractured marriages of Lila and Bernadette show how character flaws are unveiled over time. Jessica Lee Gagne's cinematography and the slow pacing to match the setting are both to be admired, but the film lacks any type of artistic or stylish differentiation, and relies solely on the fine performances of the cast. It's certainly no BLOOD SIMPLE or HELL OR HIGH WATER, but it's interesting enough to hold attention for 90 minutes … despite the mess being all cleaned up and tidy by the end.

The problem that eclipses everything else in this film is the horrible lighting - an overdone effect. I understand - and appreciate - the unnatural darkness that some directors like to use to set the theme. But in this film, the consequences are very negative.

The worst part was where the antagonist and an arbitrary hired helper break in to a house to steal money. The actions that follow between these two individuals and the occupant of the house were impossible for me to discern and could only be guessed at from subsequent developments. This spoiled the film completely for me, as I regard it as a crucial event.

Other than that fatal flaw, the rest of the story earns an "okay enough" rating from me. Everything else that happened in the dark was simply dialogue (or sex), so no further guessing was required. Nothing special developed, Berenthal delivers one surprise in the result in an altercation with a motel guest but everything else proceeds entirely predictably. Predictability is not always a bad thing and I'm sure that many viewers will be satisfied with the outcome.

Incidentally, the "relationship" between the protagonist and antagonist, as described in the summary and a few reviews, is completely exaggerated. The superficial representation of a couple of brief interactions between these two makes this alleged relationship of very little importance in the story.

Still, the cast did very well with the material they were given, so no fault of theirs - and they deserve full credit for saving the director from abject failure.