Persuasion (2022)

 
Streaming Service: Netflix
Movie Name/Year: Persuasion (2022)
Genre: Drama, Romance
Length: 1h 47min
Rating: PG
Production/Distribution: Bisous Pictures, Fourth & Twenty Eight Films, Mad Chance, Media Rights Capital, Netflix
Director: Carrie Cracknell
Writers: Ron Bass, Alice Victoria Winslow, Jane Austen
Actors: Cosmo Jarvis, Dakota Johnson, Doc Brown, Edward Bluemel, Henry Golding, Izuka Hoyle, Lydia Rose Bewley, Mia McKenna-Bruce, Nikki Amuka Bird, Richard E. Grant, Suki Waterhouse
 
IMDb Blurb: Eight years after Anne Elliot was persuaded not to marry a dashing man of humble origins, they meet again. Will she seize her second chance at true love?

 
Cat’s Point of View:
Persuasion was a refreshing change-up from the lineup of my usual fair. I’ve been leaning into action, sci-fi, and horror lately so a romantic drama period piece wouldn’t be the first thing I’d click on in my Netflix listings. I am glad, however, that this title did come up for review today. I rather enjoyed it.
 
I do feel a disclaimer is needed, upfront, as it were. I have not read the particular Jane Austen novel from which Persuasion was adapted. For that reason, I’m afraid I cannot attest as to whether or not this was a faithful retelling of that story or if it diverged from the original. I have read and enjoyed other Austen works, though; and Persuasion felt like it fit in well with what I would expect.

 
I’ve seen a lot of criticism for Persuasion based on comparison to the novel’s pacing and tone. I simply haven’t the frame of reference to offer a rebuttal. Thus, my opinion of Persuasion is based solely on my viewing experience.
 
Persuasion fit right in with the Regency romance sub-genre, which I do love to dabble in now and again. The production as a whole captured the period beautifully – from costume to the setting for each of the areas of England that the story visited. They made good use of these tools to transport me back in time as I watched the story unfold.

 
I do have to say, however, that I understood where some Regency romance purists might be a bit offended with Persuasion. Some of the dialogue was clearly spruced up a bit with more modern phrasing and idioms to relate to current-day audiences, rather than staying with the more period accurate vernacular. I couldn’t care less, to be honest. I had a moment when some of the dialogue hit me oddly as my brain was coming to terms with the anachronism of what had just happened, and then I was pleased as punch to follow where the film took me. The conversation flowed smoothly, made sense, and helped elevate the entertainment value of the movie, overall, and even likely helped trim the run-time due to the use of fewer extended flowery phrases.
 
Persuasion’s cast provided stellar performances. I couldn’t point out a single instance where I wasn’t buying into the emotions and story conveyed by each character’s verbal and non-verbal language. You could see the history between Anne and Wentworth in Dakota Johnson (Suspiria, Bad Times at the El Royale, The Lost Daughter) and Cosmo Jarvis’s (The Marker, Hunter Killer, Raised by Wolves) eyes and even micro-expressions.

 
I also enjoyed that Persuasion was a bit self-aware, and told from Anne Elliot’s perspective as if she were keeping a video diary of her life. Her to-audience narration and asides (even with the corny winks to the camera) sucked me in and I felt like I was part of the conversation. She was confiding her tale to me as if I was there at her side to experience it with her. These sidebars often added to the occasional levity sprinkled through the otherwise heavier story of unrequited love.
 
Are there better period piece dramas out there? Sure, but Persuasion was good. If you’re looking for something to take you back to “simpler times” and take your mind off of the dumpster fire that is going on both figuratively and literally in the world right now, Persuasion would be a decent choice. It’s fresh and not even one of the novels that have already been re-hashed a billion times over. If you have Netflix and enjoy the genre, I’d definitely recommend it.

Rotten Tomatoes Critic Score – 31%
Rotten Tomatoes Audience Score – 67%
Metascore – 42%
Metacritic User Score – 3.9/10
IMDB Score – 5.6/10
 
Trust the Dice: Cat’s Rating – 3.5/5
 
Movie Trailer:

Jungle Cruise (2021)

 

Streaming Service: Disney+
Movie Name/Year: Jungle Cruise (2021)
Genre: Action, Adventure, Comedy
Length: 127 minutes
Rating: PG-13
Production/Distribution: Davis Entertainment, Flynn Picture Company, Seven Bucks Productions, TSG Entertainment, Walt Disney Pictures, Zaftig Films, Blitz Film & Video Distribution, Blitz, Forum Hungary, Kinomania, Walt Disney Studios Motion Pictures Argentina, Walt Disney Studios Motion Pictures Germany, Walt Disney Studios Motion Pictures, Walt Disney Studios Sony Pictures Releasing, Disney+
Director: Jaume Collet-Serra
Writers: Glenn Ficarra, John Requa, Josh Goldstein, Michael Green, John Norville
Actors: Dwayne Johnson, Emily Blunt, Edgar Ramírez, Andy Nyman, Annika Pampel, Chris Ward, Dani Rovira, David Lengel, Emily Marie Palmer, Flanagan John, Ilana Guralnik, Jack Whitehall, James William Ballard, Jesse Plemons, Kalanikauleleiaiwi Jardine, Keith Arthur Bolden, Mark Ashworth, Michael H. Cole, Paul Giamatti, Pedro Lopez, Peter Luis Zimmerman, Quim Gutiérrez, Quintin Tyler Price, Raphael Alejandro, Romualdo Castillo, Ryan Dinning, Sharon M. Bell, Shawn McBride, Simone Lockhart, Sulem Calderon, Veronica Falcón
 
IMDb Blurb: Based on Disneyland's theme park ride where a small riverboat takes a group of travelers through a jungle filled with dangerous animals and reptiles but with a supernatural element.

 
Selina’s Point of View:
Jungle Cruise was absolutely delightful.
 
Sure, it seemed – at times – to be two whole hours of Dwayne Johnson riffing off dad jokes, but I fail to see how that’s a bad thing. As a long-time fan, it’s what I’ve come to expect from him in his comedic parts. He does it well, and there’s nothing wrong with playing to an actor’s strengths.
 
I loved his on-screen chemistry with Emily Blunt. I find a lot of the actors Johnson works with can seem a bit pale in comparison. He’s just such a huge character, with an immense amount of charisma, that it’s hard to match-up to. Blunt did exceptionally. In some cases, she may have stood out even more than he did. I think the only other movie where I’ve seen that happen was in Jumanji: Welcome to the Jungle (2017) – where Jack Black played an amazing teenage girl.

 

I’ll admit that Jungle Cruise had a pretty basic plot. I think that was what turned off some of the critics. Still, it was done well and there were moments of shock.
 
A couple of times, I made an involuntary exclamation. Granted, one of those times was because I forgot what it was rated and thought something decidedly PG-13 was happening in what I thought was a PG movie – but there was an actual twist that caught me off-guard as well. I was impressed.
 
I think it is important to note that the writers had to work backwards. They didn’t even get to start with an idea. They started with a setting and had to build outwards. That’s not a simple thing to do. Knowing that does allow me to forgive some of the over-usage of tropes.

 
They did a good job with what they had. The writers not only succeeded in giving a story to fit the ride, but they also made a movie that was memorable and fun to watch. I think they deserve some credit for that.
 
Jungle Cruise was a great, turn-your-brain-off, forget-the-world, flick. I would absolutely watch it again, and I regret not seeing it in theaters.
 
Cat’s Point of View:
Jungle Cruise landed at my #4 spot in July 2021’s Top 20 Movies to Look Out For article – only because there was essentially a 4-way-tie for #1.

 
I had quite a lot of anticipation for this movie leading back to its announcement. The trailers promised quite a fun ride. Then the coronavirus pandemic began cascading delays through Hollywood’s release calendar. Needless to say, I was rather chomping at the bit to watch Jungle Cruise the moment it became available for Disney+ subscribers. (Going to the theater or paying the premium rental price just weren’t in the cards.) I was more than happy to watch it again as a refresher for writing today.
 
Before I press onward, I do have a confession to make. I’ve never been to Disneyland. I’ve been to Disney World – but only Epcot Center. Thus, I haven’t had a chance to partake of the ride Jungle Cruise was based on/ inspired by. I can’t tell you how well it follows the experience. I can, however, give you an idea (based on IMDb’s trivia) that there are plenty of Easter Eggs throughout for those that are former passengers of Disney’s skippered boat ride.
 
That being said, much like Pirates of the Caribbean: The Curse of the Black Pearl (2003), Jungle Cruise is a film that you can enjoy without having had the real-world theme park experience.

 

I adored the chemistry between Dwayne Johnson (Ballers, Jumanji: The Next Level, Red Notice), Emily Blunt (The Huntsman: Winter's War, Sherlock Gnomes, Wild Mountain Thyme), and Jack Whitehall (The Nutcracker and the Four Realms, Good Omens, Clifford the Big Red Dog) as an adventuring trio. The dad jokes from Johnson’s character had me groaning and laughing throughout. I enjoyed the story and this trio certainly elevated the material beyond your run-of-the-mill ride experience. I think I even had a bit of a jaw-drop moment on my first watch-through when the story’s twist was revealed.
 
Aside from being thoroughly entertaining and a fun popcorn flick for the whole family, there was really only one thing that bugged me. Some of the CGI effects for the supernaturally afflicted conquistadors were a little hinky. For example, Edgar Ramírez (Point Break, Resistance, The 355) is an amazing actor – but half the time his character was on screen, the effects were so distracting that I couldn’t entirely take him seriously. It wasn’t all the time, but it was enough to have me scratching my head in a few places and broke my suspense of disbelief. Aside from that, I was rather happy with the overall effects employed by Jungle Cruise.

 
Of course, it seems like a lot of the critics are taking things far too seriously. I can only implore viewers to keep in mind that, while the theme park attraction and parts of the film may have been inspired by Walt Disney’s favorite movie The African Queen (1951), this was in no uncertain terms any sort of attempt at remaking the legendary film. Holding Jungle Cruise up to that standard is rather unfair. It’s meant to be more whimsical and fantastical.
 
I wouldn’t hesitate for a minute to give Jungle Cruise a whole-hearted recommendation. If you have access to Disney+, this would be a great addition to a fun evening. 

 
Rotten Tomatoes Critic Score – 62%
Rotten Tomatoes Audience Score – 92%
Metascore –50%
Metacritic User Score – 6.1/10
IMDB Score – 6.6/10
 
Trust the Dice: Selina’s Rating – 4.5/5
Trust the Dice: Cat’s Rating – 4.5/5
 
Movie Trailer:

The Reckoning (2021)

Streaming Services: Shudder
Movie Name/Year: The Reckoning (2021)
Genre: Action, Thriller
Length: 110 minutes
Rating: NR
Production/Distribution: Fourth Culture Films, BondIt Media Capital, Buffalo 8 Productions, Moviebar Productions, ADS Service, Best Film, Capelight Pictures, Cinemundo, Eagle Entertainment, Italia Film, Metropolitan Filmexport, Njutafilms, RLJ Entertainment, Shudder, Storm Pictures Korea, Vertigo Releasing, Volga
Director: Neil Marshall
Writer: Neil Marshall, Charlotte Kirk, Edward Ever-Swindell, Antony Jones
Actors: Charlotte Kirk, Sean Pertwee, Steven Waddington, Joe Anderson, Suzanne Magowan, Ian Whyte, Callum Goulden, Sarah Lambie, Leon Ockenden, Emma Campbell-Jones, Mark Ryan, Bill Fellows, Oliver Trevena, Indianna Ryan, Emma Holzer, Cal MacAninch, Rick Warden, Jordan Long, Maya Chityll
 
Blurb from IMDb: Evelyn, a young widow haunted by the recent suicide of her husband Joseph, is falsely accused of being a witch by her Landlord after she rejects his advances.

Selina’s Point of View:
My first thought is that The Reckoning was a little messy.
 
I was worried that it might be formulaic going in. It wound up not following any one recipe too close, but the path it took was still not great.
 
The scene at the beginning of the film ran so much longer than it needed to. It failed to bring any emotion up in me other than boredom. It was just a bunch of flashbacks and melodrama that didn’t really mesh into anything remotely watchable.
 
That was kind of the theme of the flick: melodrama. Everything was just so over-exaggerated and shoved down the viewer’s throat. It was unnecessary.
 
The movie also repeated a lot. There was the same sex scene flashback shown several times. By the time it meant anything, it already felt gratuitous. The torture scenes also felt mostly pointless. I get why they were included, they were used to show the main character’s resolve, but they weren’t done well.
 

The Reckoning would have benefited from a bit more editing. About 30 minutes of it could have been left on the cutting room floor and the only side effect would have been a better product.
 
It wasn’t all bad, though.
 
It did pick up a little near the end.
 
Although the conclusion felt too neat for the story they were telling, I kind of liked it. It was accidentally campy, but if I remember anything from The Reckoning it’s going to be those final parts.
 
There’s nothing more to say, really. The Reckoning just wound up being pointless.
 
Let us know if you disagree. You can find it on Shudder, this May 13th.
 

Cat’s Point of View:
As the credits rolled for The Reckoning, I was left with a feeling of somber satisfaction. This was not quite the movie that I was expecting. In this case, however, that wasn’t disappointing. I was surprised, sure, but I think we got a better movie as a result. Anyone who is dead set on watching a tale of supernatural horror, however, might find themselves disgruntled. The trailer seems to tease that it might be an element involved, so it would be easy to expect something like that – especially from a Shudder release. I know I did.
 
This story comes across as a mix of the book The Witch of Blackbird Pond by Elizabeth George Speare (1908–1994), Arthur Millar’s (1915-2005) play The Crucible (which has had several cinematic adaptations), and Braveheart (1995).
 
The narrative in this film was strong and fully encapsulates the time period of the Black Plague in Europe; as well as the sweeping atrocities of The Burning Times as panic, superstition, and zealotry gripped the land. People – especially women – were persecuted and killed just for being different, because someone didn’t like them, or because of unfortunate coincidental circumstances.
 
It resonates with the climate of the world today. People are still persecuted for being different, even though there have been great strides taken towards equality and acceptance of diversity – it just isn’t nearly enough. It only takes a little to spark a conflagration of finger-pointing and mob mentality – it was true then, and it is still true today. We can still stand to learn some lessons from this time period. People might not be burned at the stake anymore, but the modern-day equivalent can feel so much worse and do as much harm.
 

I could rattle on about that for hours, but I’ll spare you. Studying the witch trials and the like has been an interest of mine dating back many years to when I first heard the phrase “Burning Times” – which is another long story for a different day.
 
I digress…
 
I absolutely adored the strong female lead here in Charlotte Kirk (Vice, The Depths, Oceans 8). I haven’t paid close enough attention to her in previous work she’s been in. This movie caught my attention, however, and she has a new fan. I’m looking forward to her future work. I loved the steel in her eyes and how she threw herself into this role.
 
The settings were phenomenal, the effects were well executed, and the music was gorgeous.
 
The Reckoning is one of those movies that makes it well worth having a Shudder subscription and I highly recommend it to anyone who enjoys period drama or tales about a woman with grit and substance.
 

Rotten Tomatoes Critic Score – 21%
Rotten Tomatoes Audience Score – 37%
Metascore – 31/100
Metacritic User Score – 4.7/10
IMDB Score – 4.6/10
 
Trust the Dice: Selina’s Rating – 2/5
Trust the Dice: Cat’s Rating – 4/5
 
Trust-the-Dice’s Parental Advisory Rating: R
 
Movie Trailer:

The Banishing (2021)

Streaming Services: Shudder
Movie Name/Year: The Banishing (2021)
Genre: Drama, Horror, Thriller
Length:  97 minutes
Rating: Unrated
Production/Distribution: WestEnd Films, Blue Lantern Entertainment International, Ecs Films, Entermode, Koch Media, Prima, Shudder, Suraya Filem, Suraya Film Productions, The Jokers
Director: Christopher Smith
Writers: David Beton, Ray Bogdanovich, Dean Lines
Actors: Jessica Brown Findlay, Sean Harris, John Lynch, John Heffernan, Adam Hugill, Jason Thorpe, Anya McKenna-Bruce, James Swanton, Cokey Falkow, Seamus O'Neill, Amy Trigg, Nigel Travis, Sara Apostolaki, Danny Shayler, Jean St. Clair, Matthew Clarke
 
Blurb from IMDb:  The Banishing tells the story of the most haunted house in England. In the 1930s, a young reverend, his wife and daughter move into a manor with a horrifying secret.

 
Selina’s Point of View:
 
There’s a lot to like about the subtlety of The Banishing.
 
If you rely on the trailer alone, it looks like it’s going to be a run-of-the-mill haunted house flick. In fact, it looked like it would be so basic, that I almost didn’t even bother with the screener.
 
I absolutely believe that trailers shouldn’t spoil the films they represent… but they have to at least be cut in a way that sparks interest. In this case, the trailer for The Banishing was cut to make it seem like there was nothing unique about it – and that’s not true.
 
Although it was a relatively slow burn, The Banishing managed to subvert so many expectations for haunted house films, that it winds up being worth it.
 
I’ll admit that I do tend to forgive tropey films, as long as they’re done well, but I’m always hoping to see something that goes in a different direction. The Banishing never falls to complete tropes. There’s some mirror work, but it’s unexpected. There are some locked doors, but it’s not what anyone thinks.
 
The horror is subtle. There are some big, paranormal scenes, but they don’t fall into a ‘basic’ category.

 
Throughout the film, I kept thinking that the cinematography, story, and direction reminded me of classic horror flicks from the late 60s or early 70s. I don’t mean the setting or the costumes… but the overall feel of it. Like it could have been made around the same time as Rosemary’s Baby (1968) or The Exorcist (1973).
 
In films like that, the focus is almost completely on the characters, instead of the setting. We know that the house is haunted. We are made to understand the past. In the end, though, it’s all about who the main characters are, and what they offer to the story. A lot of haunting flicks just seem to progress regardless of what the characters do. The ending was going to be the ending, regardless of what took place. In that way, they tend to feel pointless. That’s not a pitfall that affects this one.
 
I particularly enjoyed the ending. It was understated.
 
There were a few issues.
 
Some of the transitions definitely felt a bit jarring and it seemed disjointed at times. There were also a couple of scenes that really didn’t belong. I don’t think that’s enough of a reason to condemn the film.
 
I mostly enjoyed it, though I don’t think it will be for everyone. If you’re looking for something fast-paced and pulse-pounding, this isn’t it. If you’re up for something with a touch more depth, something that gives off the feel of another era – you’ll like The Banishing.
 
The Banishing will be released through Shudder on April 15.

 
Cat’s Point of View:
When the credits rolled I felt like I had just wandered a maze rather than watched a movie. The Banishing meandered through so many twists and turns – many leading nowhere. I was worried for a little while that there wasn’t going to be a point at all. There was a rather nice depiction of a tango that had absolutely nothing to do with the overall story, aside from one of the characters involved with it. That’s how random some of this film seemed.
 
Surprisingly enough, there was an actual story buried in there. It had some holes and left its audience to do some reading between the lines, but it existed nonetheless.
 
From what I gather by comparing IMDb’s blurb for the film and the paragraph at the very end of the credits, this movie was based on an actual place in England. The disclaimer at the end of the film indicates that while based on actual events, a good deal was fictionalized for the purpose of this story. I’m moderately fascinated about the real place and what may have happened there. I might just go look it up at some point. It doesn’t ring any bells for me, however, so I’m unable to compare the depicted story with historical events actual or lore-based. I digress…

 
I felt moderately bad for the main characters, but beyond that, I really couldn’t bring myself to care much for what was going on. The movie simply wasn’t all that frightening. There were some jump-scares that got me, but I startle so easily that it’s not a good measure for a movie. I was really hoping for a good dread-filled horror movie. Unfortunately, since this particular tale was light on that aspect and heavier on drama it left me rather disappointed.
 
There’s always something positive about a film – even if you have to grasp at proverbial straws to find it. For this one, I’d have to say that the production did a great job at conveying the era in general for Britain between the World Wars. I couldn’t really fault most of the acting, either. In fact, the overall film seems to be growing on me, now that I've slept and had some time to process it a little more. I am a fan of subtlety and the ending ties things together better than expected. Unfortunately, I just can't seem to shake the disappointment. 
 
If you’re looking for a movie that’s going to make you side-eye dark hallways and sleep with the light on, this isn’t likely going to be the one for you. If you’re looking for a dramatic period piece that’s low on the thrill threshold with a sprinkle of paranormal and a few jump scares…well maybe The Banishing might be something you’d enjoy. 

 
Rotten Tomatoes Critic Score – 74%
Rotten Tomatoes Audience Score – None
Metascore –None
Metacritic User Score – None
IMDB Score – 4.5/10
 
Trust the Dice: Selina’s Rating – 3.5/5
Trust the Dice: Cat’s Rating – 2.5/5
 
Trust the Dice Parental Advisory Rating: PG-13
 
Movie Trailer:

The Dig (2021)

Streaming Services: Netflix

Movie Name/Year: The Dig (2021)
Genre: Biography, Drama, History
Length: 112 minutes
Rating: PG-13
Production/Distribution: Netflix, Magnolia Mae Films, Clerkenwell Films
Director: Simon Stone
Writers: Moira Buffini, John Preston
Actors: Carey Mulligan, Ralph Fiennes, Lily James, Ben Chaplin, Johnny Flynn, Archie Barnes, Monica Dolan, Danny Webb, Robert Wilfort, James Dryden, Joe Hurst, Paul Ready, Peter McDonald, Christopher Godwin, Ellie Piercy, Bronwyn James, John Macmillan, Ken Stott, Arsher Ali, Eamon Farren, Amelia Stephenson
 
Blurb from IMDb:  An archaeologist embarks on the historically important excavation of Sutton Hoo in 1938.

 
Cat’s Point of View:
I’ve been looking forward to setting some time aside to watch The Dig since I listed it as my #9 pick on the Top 20 Movies to Look Out For in January 2021 article.
 
In my article, I geeked out a bit about Ralph Fiennes (The Grand Budapest Hotel, Spectre, Holmes and Watson) portraying the excavator of the Sutton Hoo site in the film while actually being involved in real-life archaeology with his brother. Then there was the famous Sutton Hoo sword’s appearance on a historical weapon recreation bladesmith competition show. I had a little inner squee, let me tell you when the familiar blade made an appearance in a scene of the movie. A lot of my interest expressed in anticipation of the film’s release was very meta in nature.
 
It was a movie certainly worthy of anticipation on its own merit, however.

 
The risk that historical and archaeological depictions run up against is that the subject matter can become too dry and procedural if not handled correctly. I was very relieved to find that I didn’t feel the passage of the nearly 2 hours of this production. The story was woven in such a way that it kept me engaged with the people and the stories that interwove with the titular dig itself.
 
Of course, as this was an adaptation of a book that wove a bit of fictional creative license into the telling of the story, not everything portrayed on the screen can be taken for gospel. There’s at least one fictional character, some of the ages are different, and things of that nature. It’s been said that the fictional aspects were left in this film to help solidify the emotion of the time period. This excavation did take place on the literal cusp of World War 2, after all. The author of the book The Dig was based on is the nephew of the real-life person the character Lily James (Baby Driver, Sorry to Bother You, Yesterday) portrays in the movie. I’d say they had a unique window into events as groundwork to fashion their re-imagining around.

 
There was a surprising bit of tension and thrill as the film progressed. Historical radio broadcasts of the news at the time and the fly-overs of warplanes as the RAF prepared for the inevitable gave the film grounding and reminded you that war was a clear and present danger just over the horizon. Weather and politics worked in counterpoint with the imminent military actions to keep me firmly entrenched in the plight of this massively important excavation.
 
The human element of the story was poignant and relatable. I’d have to say that Carey Mulligan (The Great Gatsby, Mudbound, Promising Young Woman) was brilliant in the role of the widow Mrs. Pretty. I wasn’t even aware of the age difference between the actress and the age of the real Edith Pretty at the time of the Sutton Hoo find until I went looking up more information on the story. If I had known, I don’t think I would have cared.

I have a feeling that The Dig will appeal to a wider range of audiences than you might think. I’m glad that the book and movie were made to bring more attention of the mainstream to this significant historical moment – and in doing so brought some posthumous recognition to those involved with the dig that were not correctly credited for their work at the time. The themes of family, friendship, loyalty, and perseverance transcend the subject matter a bit and make it very easy for me to recommend this film. It’s even one I wouldn’t mind watching again. 

Rotten Tomatoes Critic Score – 88%
Rotten Tomatoes Audience Score – 78%
Metascore –73%
Metacritic User Score – 6.7/10
IMDB Score – 7.1/10
 
Trust the Dice: Cat’s Rating – 4/5
 
Movie Trailer:

The Devil All the Time (2020)

Streaming Services: Netflix
Movie Name/Year: The Devil All the Time (2020)
Genre: Crime, Drama, Thriller
Length: 138 minutes
Rating: R
Production/Distribution: Nine Stories Productions, Netflix
Director: Antonio Campos
Writer: Antonio Campos, Paulo Campos, Donald Ray Pollock
Actors: Robert Pattinson, Tom Holland, Haley Bennett, Harry Melling, Bill Skarsgård, Riley Keough, Sebastian Stan, Mia Wasikowska, Eliza Scanlen, Jason Clarke, Douglas Hodge, Given Sharp, Drew Starkey, Lucy Faust, Abby Glover, David Maldonado, Cory Scott Allen, Kristin Griffith, Michael Banks Repeta
 
Blurb from IMDb: Sinister characters converge around a young man devoted to protecting those he loves in a postwar backwoods town teeming with corruption and brutality.
 

Selina’s Point of View:
I have come to love Tom Holland (Onward, Spider-Man: Homecoming, In the Heart of the Sea) as an actor. That’s what primarily drove my interest in The Devil All the Time, at least initially. Eventually I took note of the rest of the phenomenal cast and watched the trailer – but none of that would have been enough to keep me interested without Holland.
 
Period piece films, especially ones that are rooted in mainly drama, just don’t tend to speak to me. On top of that, it’s long. It’s as if the writers took several different films and connected them into one. All the stories converge eventually, but you bounce back and forth a bit first. I had some suspicions that I might have trouble watching.
 
I was shocked that they were able to keep things from being difficult to follow. I thought I was going to get confused, but everything from the content, to the settings, to the acting kept me sucked in. My attention never wavered.
 

The people involved in The Devil All the Time were absolutely at the top of their game. Every branch of the setting was in place. There was not a single performance that was flawed. The writing was on point, except for one scene that I felt was a bit gratuitous.
 
There was one particular death that was much harder to watch than the others, the third one – I believe it was. There was no body horror, no torture involved. Something about the way the scene was done just made it feel very real. The director opted to go for a muted use of blood and music that caused everything to match up to what you would expect to see at a real crime scene. That made it more horrifying than any torture-based horror flick I’ve ever seen.
 
Honestly, even with how great the film is, a lot of it is difficult to watch and listen to. It goes to some seriously dark places and there are triggers everywhere. Keep that in mind if you’re interested in watching.
 
And you should be interested in watching. Netflix did a great job picking this movie for distribution. It’s unforgettable.
 

Cat’s Point of View:
When I see a movie labeled with the genres of crime, drama, and thriller; it tends to set me up for an experience that will either hold me in suspense or pull me into intrigue while I sit on the edge of my seat. I expect to be clawing for hope that the protagonist skates by to whatever their story’s favorable conclusion might be.
 
When “thrills” are promised, I expect time to fly by.
 
If I had to pick one word to describe The Devil All the Time, speedy would definitely not be it. The not-quite two and a half hours of this film felt more like three. I get it, though. The story spans several decades, after all. I guess I just wish the pacing was a bit faster. I suppose feeling the passage of time towards the inevitable conclusion could have been purposeful.
 
My take on this all-star Netflix original is that it gives us a reminder about that phrase we sometimes bandy about – “it’s a small world.” Expanding on that, the film also gives us a lesson in six-degrees-of-karma… or you could even argue fate.
 
I appreciated how immersive into that bygone era between World War II and Vietnam the film felt. The fact that the movie was shot on 35mm likely added to that ambiance and was a risk that, hopefully, paid off for Netflix.
 

The cast was amazing in their roles. I was invested in the characters regardless of how intensely I felt the passage of time. Of course, the time period depicted in the tale is, by nature, “slower-paced” in comparison to the “fast-lane” of the “future” that we live in, today.
 
If I’m being fair, I have to admit, it is also possible that the pain I’ve been experiencing in my right arm lately could also be coloring my perception of the passage of time. (I have a doctor’s appointment later this week, thankfully.)
 
I expect that the production was fairly true to the novel that it was adapted from, however; considering that the author of the titular book lent his voice to the role of the narrator of this story. Donald Ray Pollock hasn’t even voiced his own audiobooks before, so this seems to be telling for the production’s benefit.
 
Overall, it’s a solid dramatic piece, and satisfying for the most part. I definitely wouldn’t steer anyone away from the movie.
 

Rotten Tomatoes Critic Score – 64%
Rotten Tomatoes Audience Score – 83%
Metascore – 54/100
Metacritic User Score – 7.9/10
IMDB Score – 7.2/10
 
Trust the Dice: Selina’s Rating – 4.5/5
Trust the Dice: Cat’s Rating – 3.5/5
 
Movie Trailer: