Jack Reynor


First Hit: Early on, I was hopeful and interested, but as the story moved along it failed to deliver intrigue and died an unhappy but amusing unintended death.

While watching the film, the approach of the story reminded me of “Get Out” in that people are brought to a place unsuspecting of the weird darkness that is ready to befall them. But more like "Us,” Jordan Peele’s follow-up film, this story fails by being too overt and complicated in its presentation.

At the beginning of the film, I thought the scenes were exciting and created a hopeful promise of a good story. Many of these scenes, were well depicted, including Dani (Florence Pugh) panicking because her bi-polar sister wasn’t responding to Dani’s emails and that her parents not answering their phone. She did a great job of depicting insecurity and panic.

Looking for support, she calls her boyfriend Christian (Jack Reynor), but gets little relief from her fears, because of the tone tenor of his voice while attempting to support her tells a different story. We understand that he’s disengaged and tired of her insecurities.

When Dani learns her sister has killed herself and her parents, Christian does what he can to support her, but we all know, he’s doing it out of guilt and now barely cares about any future with Dani.

Christian likes hanging out with his friends, Josh (William Jackson Harper), Pelle (Vilhelm Blomgren), and Mark (Will Poulter) who are encouraging him to find another girlfriend because Dani’s too clingy.

These set-up scenes are excellent and made me wonder where this story was headed.

During a group conversation with his buddies, Christian reluctantly tells his friends that he’s invited Dani on their group trip to Sweden to meet Pelle’s family and experience the Midsommar celebration.

The reluctance and inability of Christian to communicate with Dani, and with his friends about Dani, is part of the slow burn that develops in Dani that is key to actions later in the film.

Heading into Pelle’s communal family compound, the audience notices the welcoming nature of this group, but also there’s a hint of darkness in the interactions between the outsiders and the communal group.

Then the story really starts to dive into weirdness. Along with another outside couple, Connie and Simon (Ellora Torchia and Archie Madekwe respectively), we get a sense that these outsiders were brought here for another reason (hence the reference to “Get Out”).

There are overtly graphic deaths that are meant to be honorable in their execution as this commune believes that at age 72 you’ve served and it’s time to leave. When I say overtly graphic, I mean this. They are not easy to watch and not for the faint of heart.

But this is just part of the weirdness of this story, and by the time it is clear what is going on, the story was both comical and poorly conceived.

Pugh was strong. Her ability to be needy, vulnerable, and edgy was very good. Reynor was excellent at being a guilt-ridden boyfriend. Harper was one of the more clearly defined characters and brought a saneness to this story. Poulter is always good at being the goofy, slightly outrageous, obnoxious character. In this film, he carries on this role. Blomgren was outstanding as the commune member who gently supports Dani through her transition. Madekwe was sufficiently outraged bordering on too much at the demonstration of the deaths of two older people. Torchia was good in her minor role as Simon’s finance. Ari Aster wrote the screenplay and directed this film. The story felt overly complicated and seemed to get confused with itself. For instance, there is this scene when Pelle says this event only happens every ninety years, but what part is annual and what part is every ninety years? When do the other old people pass, annually? What parts are every ninety years, and what parts are annual? I didn’t understand the meaning of talking about this ninety-year sacred event. There were moments in which the direction was clearly impactful and engaging, while other sections pushed the story more than required to make the point or that the parts didn’t quite make sense.

Overall: This film was too long and uneven its storytelling.

Free Fire

First Hit:  Not many screenwriters and directors attempt to shoot an entire film in one room and this film shows why. Part of the issue with shooting a film in a one room, with a few scenes outside the room, is that the room set has to be dynamic or amazing and/or the characters have to be inspiring and so engaging that the audience is on the edge of their seat. Some films focus on one or the other while most of the rest try to focus on both. This one appears to focus on character development but by limiting any movement in the set because people are in a gunfight and pinned down, the difficulty in making the characters interesting, is pronounced.

What we have is two factions. One group wants to buy some M-16 rifles and another group wants to sell guns. The deal is filled with mistrust as the rifles that get delivered to the meeting place, a broken-down warehouse, are not M-16s. This creates tension between the two factions.

What blows this up is one of the guys Stevo (Sam Riley) who’s on the team buying the guns for the IRA, got beaten up by Harry (Jack Reynor), one of the guys from the seller’s team. Harry beat-up Stevo because he said some very rude things to his sister. When they each recognized each other they start to fight and the two sides begin shooting at each other and thus begins about an hours’ worth of shooting in a small confined space.

During the shooting the sides call out to each other and some of their past association comes to light.

There are very amusing parts and quips along the way which worked, however, the fight was too long and it ran out steam about 20 – 25 minutes into the gun battle. Although the ending wasn’t predictable, it didn’t mean much because I didn’t care a whole lot.

Regardless of the film, if there is nothing to root for, care about, or associate/connect with, then the experience dies and the film fades from my mind just as soon as I get up out of my seat.

The actors that stood out during this film were: Armie Hammer (as Ord) the strong arm. Brie Larson (as Justine) as the smoother between the two groups. Sharlto Copley (as Vernon) another strong arm. Others, like Riley and Reynor, were good, however this film didn’t quite lend itself to strong acting, just short quips and brief explosions of anger or shooting. Amy Jump and Ben Wheatley wrote a quippish script. Wheatley as director did get something out of the limited script, but after 20 minutes of the OK corral in a broken down warehouse the film just fizzled out.

Overall: This film had possibilities but in the end, it failed on all levels.