Cold in July: Juillet de sang

This dirty little piece of Texas pulp rides the fine line of art of trash with brilliant composure as its dark script teases you with how far it'll go. The seed is planted when an everyman kills an intruder in his home, and the story spins wildly out of control from there. The story moves forward at a brisk pace and never looks back. Sure that means there are as many holes as there are unanswered questions, but such is the case with pulp. You gotta live in the now, man. In the end, I'm still not sure how to process what I've seen, and I've gained no further insight or knowledge about myself, the world, or humanity. And I wouldn't have it any other way

The cast fit the roles perfectly, Michael C Hall performance grows as his character evolves during the film, Sam Shepard plays it cool throughout and Don Johnson, my favourite character, as the private detective is a breath of fresh air in an otherwise intense, gritty thriller.

The overall 80s theme is apparent throughout, the soundtrack by Jeff Grace is very similar to that of a John Carpenter score.

I went into this film with quite high expectations after watching the trailer, the story line kept me on my toes with plenty of twists and turns i wasn't expecting at all, a killer soundtrack, awesome cast and an indie look and feel about it similar to the film 'Drive' – Cold in July certainly didn't disappoint. Well worth a watch!

7.5/10

The distinction between murder, manslaughter and self-defence is one that continues to grow more appropriate in America with each passing year. How does one determine the truth when only one key witness is available to divulge in their perspective? Especially when the odds are in their favour by accidentally shooting a "wanted felon" in the eye. The police view it as heroism. The general public questioning its intent. The victim's father overwhelmed with rage and demented turmoil, threatening the safety of the family thrown into the icy-cold chills of crime.

Mickle's intentionally masculine crime thriller is one that evokes themes of fatherhood. The paternal rights and responsibilities of their children who may, or may not, be following the path of sin. Ever increasing the protectorship of their guardian figure for the sake of the family they have lovingly crafted. It's a natural instinct. To protect our own flesh and blood, no matter the cost. But what if that expenditure is too severe? What if their existence is causing suffering to others? The morality of these two fathers, the shooter and the victim's patriarch, is tested through unlawful extremities. Challenges that conjure inner turmoil. And it's only through Mickle's astute direction do we as viewers journey down this careening route of masculinity.

What starts off as a simplistic revenge thriller soon complicates itself into an absorbingly comedic drama, whilst still shrouded in pulpy neo-noir aesthetics. Grace's booming synthesised score and Samul's ornate use of vivid neon backdrops cement the noir elegance. Yet it's Mickle's insistence in shifting genres, adding a quirky aura of surrealism to the mix, that acts as gritty adhesive. Does it work? Not quite. The brutal tension that is meticulously built up in the first hour is palpable. Slow panning through tight corridors. Strikes of lightning illuminating the bleak darkness of 80's Texas. The atmosphere compact with nullified thrills.

Then the plot thickens. The local police become involved, a recruited Private Investigator struts his stuff and suddenly the genre changes. Intrinsic comedy is injected through Johnson's character, contrasting against Shepard and Hall's intimidatingly serious performances. Unfortunately, this relieves the suffocating tension that preceded it, relying on a clichéd yet stylistic conclusive shootout with moments of jarring humour. Whilst it does add characterisation, Mickle's screenplay rarely furthers itself by being weighed down by overly basic dialogue. Conversational scenes, particularly between the two fathers, seemed muted. Lacking in fire and anger. If the script had been tighter with some sharper tongues for the characters, the complacent genre shift would've been more forgiving. The two were unable to mesh cohesively.

That's not a detriment to the overall technicality and theatricality of Cold In July. It remained bitterly deadly throughout and utterly watchable. If only the script had been tighter and the narrative differences more seamless when transitioning, we could've had ourselves an incredibly rare hidden gem of noir excellence.

An endless orgy of twists & turns that begins & ends with a bullet being fired, Cold in July isn't an easy film to pin into any genre because it starts as one thing, then changes its course around the middle, seems to be heading in the direction you predicted but once again takes an unexpected turn to become something else entirely.

Co-written & directed by Jim Mickle, this indie keeps shifting its gear which stacks up pretty well in the end as the aura of tension & mystery that's present in the story throughout its runtime is nerve-wracking. Camerawork is expertly handled, editing is slick, background score neatly compliments the whole narrative and the tonal shifts are done in a way that only brings the viewers in instead of out.

As far as performances go, the film boasts a badass cast in Michael C. Hall, Sam Shepard & Don Johnson and the trio is impressive in their given roles. Hall plays an everyman & it is through him that we enter into the story, Shepard contributes in with a strong performance of his own but it is Don Johnson who leaves the most lasting impression and steals every scene he's in with ease & finesse.

On an overall scale, Cold in July is a tense, gripping & expertly narrated indie that offers an immersive drama which eventually culminates on a highly satisfying & emotionally rewarding note. Worthy of a broader viewership & definitely one of the finest films of the year, not to mention amongst the coolest as well, Jim Mickle's latest film is absolutely worth your time & money and comes thoroughly recommended.

How many men can one bullet kill? That is the catch line on the film poster, and it is one of the best definitions of a film I have ever read. Based on a novel by Joe R. Lansdale, this is the story of Richard Dane (Michael C. Hall, eternal "Dexter"), a protective family man that kills a burglar inside his home. Still in shock after the event, he is not fully aware of what that single shot has triggered.

I must confess I wanted to see the movie because I am a big fan of "Dexter" (James Manos Jr. 2006-13), and after this show and his role in "Six Feet Under" (Alan Ball, 2001-2005), I already thought Michael C. Hall was a great actor. Having watched this film, I admire him even more. It is not easy to shake a character that has been with you for so long, but Hall just nails this average man, father and husband. How such a man reacts when killing for the first time and everything afterwards, it is outstanding. The other actors in this trio are Sam Shepard as the father of the deceased burglar, and Don Johnson as a government agent, two tough guys that shows up as a result of Dane's killing. Both Johnson and Shepard really fit the role and they support Hall perfectly.

This film is tough, maybe not in a graphic way, but throughout the film you start to feel the burden of the events, the consequences of it. It is also a story of good and evil, of doing the right thing, and all the unexpected things behind that decision. The film is divided into two parts, and in the second segment, there is a shift in the tone, though there is something true about the whole film, it is a gritty, harsh story. How an ordinary man copes with life after a rough, life-changing event.