Blood Father/Don't Breathe

Hi there. You might remember me as "That Guy who writes about Canberra Theatre". Or maybe not. Most of the people who read the reviews seem to particularly read the ones of shows that they're either in or that friends are in, and that's okay. But part of the point of that exercise is to try to record my thoughts on the theatre I choose to watch and to be, theoretically, a better reviewer. I don't know if I'm succeeding, but some people seem to like 'em.

Anyway, I'm seeing a fair few movies at the moment as well, so I thought I may as well start reviewing movies too. So that's what this blog is for.

First up this weekend is "Blood Father", Mel Gibson's entry in the old-geezer-action-flick genre that got a kick in the arm a few years ago when Liam Neeson's daughter was Taken. In this one, Mel's a recovering alcoholic and ex-con who's reunited with his runaway daughter when she falls afoul of a Mexican drug cartel and needs to go on the lam. Gibson has form as recovering alcoholic and that is reasonably well exploited in his role (though of course Gibson's very specific transgressions aren't gone into, instead making vague references to his character's criminal past), but as a whole this doesn't really do it for me. Despite being in most of the movie, Erin Moriarty's daughter never really becomes fully fleshed or real - she's more an object to be protected rather than a full character, and her tough-life-as-a-runaway-kid is more an informed attribute than something that we get the sense she's actually lived.  The film also commits the crime of wasting William H. Macy (his role as Gibson's AA sponsor feels like it has potential but it piddles away into not-very much). Gibson's charisma is still considerable, but there isn't really enough otherwise that brings this up above generic crime-flick cliches.

Second, "Don't Breathe", This is a horror/thriller about three criminals who think they're about to score big by robbing a blind man in a run-down Detroit house. They find out it's a lot more dangerous than they planned. This is pretty effective stuff - no, the three crooks aren't entirely sympathetic, but this exploits very well the sense of how silent the three protagonists have to be if they're going to get away from the house. This is pretty big on the classical unities (small cast, mostly taking place in the one house, over the course of roughly one night), and very effectively immerses the audience in a fair bit of tension. It's wildly exploitative and possibly a little bit tasteless as well, but goddamn if it isn't effective.