But Tate Taylor | the Review


Published on Jun 29, 2019


With But, the new proposal summer for the Blumhouse after the recent production of Robbery in Stockholm, truly do not understand the point.

It seems that the one directed by Tate Taylor wants to be an opera iconoclast designed to take several strands to the film as if they were bottles of different spirits to the supermarket, do a taste now of this now of that, mix them to your liking in a single glass (100 minutes) and then serve it, without, however, make sure in advance of the final result: if you were in the mouth good, you might wrinkle your nose and raise your eyebrows and maybe to spur you to even ask for the money back.

The script written by Taylor and Scotty Landes, starting from the subject of the second, to embrace everything, from the cinema of John Hughes – as expressly stated – to the psychological study of a single character that is typical of a certain independent cinema, the ’70s, the psychological thriller, Carrie by Brian De Palma, all the way through the slasher, and Misery Must Not Die, making (too) rely on a concept particularly happy that looks to the sub-genre of home-invasion, but with a twinkle that almost could be defined as brilliant (if not wasted) in the limelight: as with the history of Mohammed and the Mountain, is not the murderer (in this case, an assassin) that slips in the house of the protagonists are the protagonists that they go and visit the killer.

And do not make for a spacconata adolescent as in a Man-in-the Dark Faith Alvarez, do so because circuits by Sue Ann, in art, a solitary woman who one day gets stopped by Maggie, a teenager recently arrived in the city and eager to gain acceptance from his group of new friends: to do so, he must be able to obtain alcohol, and the idea, being a minor, is to ask Her Ann to do it for her.

The woman not only accepts, but also offers young people the chance to organize the party in his basement, so as to avoid drinking and driving; there are some rules to follow, but for the rest they can do as they were at home.

Of course, there is something that goes far beyond hospitality is particularly expansive, it is clear from the first frame, Taylor demonstrates the delicacy of a hippo in having to manage the scene of the meeting between Ma and the boys as protagonists, and just need the flashbacks calibrated with a dropper to gradually reveal background about the adolescence of Her, because Octavia Spencer – who, thanks to Taylor, he won an Oscar in The Help – just one look together with a framing detail to reveal all the hidden cards.

The director, who had also done a decent job with the thriller mystery in the Girl of The Train, shows that he does not know how to hold together the times and rhythms of the horror of diluting too much the narrative, probably the not-too-helped by a screenplay the boat that goes a little bit here and a little there, but never straight to the point. And finally, when that point comes to us does so with the conviction of having prepared the ground for a shot of the scene, when in fact it is tremendously late, and those who watch the was already waiting arms.

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