Basically, Intruders is a thriller driven by the story. Nor there aren’t many jump scares or intense moments. The twist and turn in the story is nice but there aren’t much gore and violence. If you are looking for gore and violence in the movie, you’ll be disappointed. It still is a entertaining thriller to watch. But the ending doesn’t really ruin the film. There are enough twists in the movie to keep you glue to the screen until the end.ĭisappointing part of the movie is the ending. Rest of the movie turns into exciting thriller with surprise twists. But once we see the intruders break into the house, the pace of the movie picks up. We get to learn about Anna and her back story little bit in the beginning of the movie. Unfortunately, the movie starts out bit slow. So I’ll try not to give away too much about the movie. It starts out as a typical home invasion thriller, but it quickly turn into something completely different. I recommend you to watch the movie without knowing anything about the movie. Intruders is an entertaining home invasion horror/thriller with big twists. But what the intruders don’t realize is that she is not a vulnerable woman. So when trio of criminals break into her house, she finds herself fighting for her life. When brother died, she is left alone in the big house. She spends all day taking care of her brother. She lives with her brother who is very ill. That has to count for something.Intruders is a home invasion horror with a twist. On the other hand, the final scene is hugely satisfying primarily because, at long last, the right person is killed by the right killer. As a result, some viewers may be reluctant to care about any character’s outcome. In between swigs from a very large bottle of whiskey, he runs the gamut from waxing philosophical (“It takes a willing hand to punish horrible men!”) to issuing florid insults (“You are not an unfortunate man, you are an auspicious parasite!”) when Leland isn’t offering dire warnings about the threat to his community posed by murderous “bogeymen.” Chief among the latter: Atticus, the relentless assassin effectively played by Leguizamo as only slightly less indestructible than Jason Voorhees.įairly early in the proceedings, “The Hollow Point” establishes itself as the sort of movie in which just about anyone might wind up on the wrong end of a gun, or a machete. But McShane effortlessly overshadows both of them - and everyone else in the cast - with a flamboyantly mannered performance charged by alternating currents of contemptuous sarcasm and pessimistic gruffness. Wilson is persuasively resolute as the sheriff, and Belushi does sweaty desperation like a pro. Wallace is determined to save at least one of those potential victims, and he doesn’t let a little thing like having his hand sliced off with a machete seriously impede his mission. Because of their connection to a rash ne’er-do-well who ran off with a stash of drug cartel cash Shepard (Jim Belushi), a sleazy used-car dealer and Marla (Lynn Collins), Wallace’s incautious ex-wife, are on the kill list of the aforementioned hit man (Leguizamo). Wallace arrives just in time to get caught in the crossfire after an ammo delivery goes wrong. There’s a new sheriff in town, Wallace ( Patrick Wilson), a straight-arrow prodigal son who returns to his old stomping grounds to replace Leland (Ian McShane), a beefy and boozy cynic with a reputation for shooting first and seldom asking questions later. The film takes place in an Arizona hamlet near the Mexico border where a few locals earn an off-the-books income by selling ammunition to a drug cartel. Still, there are sporadic compensations for your investment of time: Ian McShane’s robust overplaying of an unapologetically scuzzy small-town lawman, John Leguizamo’s dead-serious villainy as a scarily resilient hit man, evocative lensing by David Jose Montero, and a few modestly inventive twists in the otherwise predictable plot. Almost every aspect of this violent yet dawdling indie, including the sound-alike redo of a late-career Johnny Cash recording used during the closing credits, seems generic and/or second-hand. With “The Hollow Point,” director Gonzalo López-Gallego and screenwriter Nils Lyew flash back to those not-so-thrilling days - specifically, the early- to mid-1990s - when Blockbuster store shelves were littered with direct-to-video neo-noirs in the same fatalistic vein.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |