Monday, November 29

Sweet Girl Review – Jason Momoa’s Netflix Action Thriller Is Not A Start | Action & Adventure Movies


GRAMCreating a below-average Netflix action movie has become a rite of passage for male and female actors alike, regardless of fame, age, or status, with Mark Wahlberg, Karen Gillan, Chris Hemsworth and Liam Neeson all recent recruits (upcoming members include Jessica Alba, Mary Elizabeth Winstead Y Jennifer Lopez). This week sees Game of Thrones alumnus and Aquaman himself Jason Momoa as the headliner, an expert on the platform, and I imagine watching him punch, kick, shoot and rage at the bad guys will be an irresistible proposition for many viewers, if they can. do if beyond the egregious title.

Sweet Girl, which sounds more like a reality show about a teenage baker, actually refers to Rachel (Isabelle Merced), the daughter of Ray (Momoa), a hard-working family man who falls apart after a devastating tragedy. The family matriarch dies of cancer after a new drug was abruptly pulled from the market, the result of the capitalist greed of an evil drug company. Ray vows revenge against those who chose to earn money rather than save lives and, with his daughter, they set out on a dangerous journey to find justice.

There is something admirable in the initial intentions of such a mass-market film as this one, to confront and criticize the amoral practices of Big Pharma, while at the same time serving as a poignant reminder of how the American healthcare framework routinely crushes people. poor (oddly not the first) Netflix B-Movie to do this with similar references in Fractured, Spenser Confidential, and The Ice Road). It’s a surprisingly substantive starting point (and allows for hilarious cameos from Justin Bartha as a soulless CEO and Amy Brenneman as an ambitious politician) and takes us on a journey where we can happily go behind, ready to applaud for the twisted fall. of a tremendous corrupt system. But finely recorded actuality only reaches the movie so far (the script is very “I read an article once”) and when the action mechanics kicks in, it’s more of the same with very little to distinguish it from the rest. .

Just last week, Beckett, the other man thriller in Netflix’s run of the month, parted ways by turning its lead into an incredibly awkward, badass, and uncoordinated action hero, raising the stakes for us as an audience. But when you cast someone as intimidatingly burly as Momoa who plays a character who fights in his spare time, we never doubt how a confrontation will play out. There are few surprises in Sweet Girl as convincingly uptight Momoa and Merced, confidently taking advantage of the comical charm she displayed on Instant Family and Let It Snow, go from one drab setting to another, competently shot by a rookie director. Brian Andrew Mendoza but never threatened to get my pulse racing.

But in the final act, just when we think we know where we’re headed, writers Philip Eisner, Gregg Hurwitz, and Will Staples throw off a shockingly deranged twist, which takes us by surprise, but only because of the movie that came before. then it becomes completely absurd as a result. It’s like he’s been panicked at the last minute at random, a freaky gimmick from a reveal that would score big swing points if he weren’t so poorly integrated into the history around him. It’s hard to explain how the scenes that come afterwards crash without breaking down, but it’s based on so many suspensions of disbelief that a somewhat grounded tale of corporate embezzlement has now flown high in the sky, in the realm of bizarre fantasy. But I’m concerned that I’m making Sweet Girl sound more fun than it actually is, because a quick WTF moment isn’t worth the effort it takes to get there and the lanky mess it leaves behind afterward.


www.theguardian.com

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