A lot is happening in Ida Red. People are robbed, killed, and imprisoned; piles of money are mixed among shady people; a moving family reveals a life-changing secret. And yet, what seems like everything sounds like nothing at all.
Anger and confusion started with the first scene, the hijacking of the trucks fired into the darkness, near the moving eyes making it difficult to say who, what was happening or how many people there were.
A few more scenes are needed for the context to complete: One of the robbers involved is our character, Wyatt Walker (Josh Hartnett, trying his best to add warmth to the excellent text). She regularly passes the jail to report to her mother, Ida “Red” Walker (Melissa Leo), the head of their disgraced criminal family 15 years after Plexiglas.
Now that he is dying of an unexplained illness, Wyatt’s goal is to get him out of prison, so he doesn’t have to spend his last days there. But his bloodthirsty career – or, more accurately, the brutal and careless work of his uncle Dallas (Frank Grillo) – draws the attention of a special FBI agent (William Forsythe), who works with a local police officer (George Carroll), who may be married to his sister. of Wyatt (Deborah Ann Woll), mother of Wyatt’s niece (Sofia Hublitz).
Much of this is explained in the context of the unjustified but admittedly useless waste, where Carroll’s Bodie patiently describes all of these relationships, culminating in a cup shoot, as the beginning of Forsythe’s Twilley.
The unique elements of Ida Red can be divided into two categories. There are tangible things because it encourages that persistence of what it does – this-reminds me-of-a-sense – as a result of David Sardy, who tries to force the size of Tenet into a modest and medium-sized film that can’t support it.
Grillo’s performance as a mesh-shirts Dallas, with cowboy hats, borrowing some of Matthew McConaughey’s sad charisma from Killer Joe. Or Leo’s combination of maternal warmth and firm determination, reminiscent of the vivid type of motherhood of the Animal Kingdom.
And then there are the things that stand out because they are just plain unexplainable like baroque erase changes that take the form of crosses or lids. There’s a suicide set in Madonna’s “Crazy for You,” why not, and a lengthy discussion posted on the sex scene, and why not.
In the end, the cinema screen does not look good, but the moans and moans have disturbing background noise, trying desperately to inject some sharpness in the exchange of information in another way. At that moment, more than one twist is revealed in such a strange way that the viewer may wonder if his mind wandered at a crucial moment in front of the film and feel compelled to postpone and explore.
Most Ida Red, however, does not comment at all. These speeches accumulate so quickly that they almost seem as if they could destroy themselves: Is it possible that the love between that rebellious nephew and the local garbage bag (Nicholas Cirillo) will not end in the predicted way? Indeed there is more to Agent Twilley that never ends than decades of police opinion?
But telling Swab’s story doesn’t get there. Everything in Ida Red is the same as it seems to be, nothing less and certainly no more. Even Leo’s gentleness can do much to elevate a weather monologue that destroys most of its words by simply telling a story we already know and not even trying to reach higher bodies or deep emotions.
When Ida Red unveils her first lethal shot, about 10 minutes later, it comes as a shock, sudden and clear enough to show that the film is not spoiled. But the gun in the head becomes everyone’s solution to everything in the movie, and by the end of the film, seeing bullets in the body has become so commonplace that it sounds strange. Nothing kills happiness like endless repetition – and Ida Red turns out to be the latest short echo we’ve heard so many times.
The decline of the film is still in its infancy. Over about two hours, the audience is introduced to several characters contributing to the family’s inefficiency, each with its own set of problems.
In a limited series, perhaps, the story of how Jeanie, Wyatt’s sister, worked while married to a law-abiding man – determined to arrest her family members – and the mother of a young daughter might have a place to expand. A small episode about Darla, Jeanie’s daughter, who participates in and loves members of her criminal family is an exciting angle that can best be explored when the main plot unfolds.
As for the revered character, Ida Red seems to be very powerful, but the film is not told of her vision and does not give an idea of what she is like in this criminal group while dying and incarcerated.
So all the play on Ida Red, all that happens, unfortunately, is that tension and excitement are eliminated in every crime drama rather than collected. In the end, the film does not fit and does not have clarity. While it may have all the right pieces for it to work correctly, it can’t put itself in a way that leads to a satisfying conclusion, and Ida Red fades a lot to the end.
Although the film struggles to create vivid narratives and create suspicions, what keeps viewers’ attention is the flexibility of the characters. Josh Hartnett feels comfortable in this role, with his years of hard work, reminding viewers that he is an actor who can keep our attention.
Sofia Hublitz feels too old to play a 16-year-old, but she is charming enough to create a compelling character in Darla. Melissa Leo is beautiful and does a lot with what she is given.
Although the collection is well distributed, Ida Red as a whole sounds like an old explosion. With the transformation of the old school, the work of traditional cameras, and the memorial points of those found in crime dramas from the 1980s and 1990s, Ida Red is simply a repetition of a good crime drama but nothing.
edited and proofread by: nikit sharma