A female assassin with a troubled past, after having accomplished numerous missions, becomes a target herself and has to fight for her life.
Ava a film that I will spend little to no time and I’ll be brutally honest. Geena Davis is the only actress who is exempt from what comes next. She’s the flower protruding from the swamp.
Ava is badly shot, miserably edited, poorly acted, and horribly produced. What saddens me is the fact that A-list actors agreed to do this after reading a fundamentally flawed and clichéd script. Was it money? Boredom? Everyone was simultaneously high? Regardless, the result remains the same: a messed up, destined to sink and stay at the bottom, wannabe, Vidal Sassoon, assassin film.
Two little kids, a boy and a girl, after being abducted and mentally and physically abused, they become adults and live on the streets, doing whatever is necessary to survive.
As you may have figured by now, I’m a horror fan. Gardens of the Night, definitely not a horror film, addresses one of the scariest scenarios for every living human being, especially parents. The non-linear narrative tells the story in a way that sustains the suspense until the end. Producer /writer/director Damian Harris develops the plot in a way that will glue you to your seats and will make you want to intervene, to step in, to take action, and end the atrocity. The fact that you won’t be able to though, something that you know but you are willing to fool yourselves even for a second, will make you at least root for the kids but also the adults and pray for a happy ending. I personally hate happy endings. But not when I know that tragedies like the film’s theme are actually happening while I’m writing this review, right now.
It is a powerful film! There are shots that will make you cringe, and there shots, such as the one with the milk in the fridge and adult Leslie after the failed sex scene that will make you want to squeeze the chair your are sitting on and cry your eyes out.
My standing ovation goes to everyone: Harris for doing all the hard work. Ryan Simpkins and Jermaine ‘Scooter’ Smith, and Gillian Jacobs and Evan Ross, for carrying the film on their shoulders. John Malkovich, Peter Evans, Peta Wilson, Michelle Rodriguez, Shiloh Fernandez, Harold Perrineau and Jeremy Sisto for having cameos that anyone could have done them and yet they decided to simply participate due to the film’s nightmarish nature. Especially, Tom Arnold who has experienced first hand this nightmare and took the most detestable part. Last but not least, the rest of the cast and crew who made this film possible. Bravo!
This is the American style of filmmaking that reveals a layer of our society that no one wants to admit it exists. That no one wants to know it exists. A layer that is not buried deep under but right in front of us and yet we willingly turn the goddamn blind eye because it would shake us to our core. And then we would have to overlook ourselves just to do something about it. My utmost respect to the unknown, suffering heroes who do… and the poor souls who have to endure it…
Hauntingly dark and beautiful drawings are found at a dead man’s apartment and upon their unlawful exhibition for personal profit, a price for greed comes along.
Fancy words, filthy words, art critique jargon, shiny dress code, and over the top personalities, to name but a few, characterise a snotty world that most of you, and most certainly myself, have never visited and probably never will. Hard to tell where writer/director Dan Gilroy stands and how he feels about this world he brilliantly depicts or why he chose such a sexual term for a title and that is pure magic.
Jake Gyllenhaal, Rene Russo, Zawe Ashton, Tom Sturridge, Toni Collette, Natalia Dyer, Daveed Diggs, and last but not least, John Malkovich give Gilroy’s surrealistic world flesh and blood and don’t hesitate to blow their performances out of proportion.
Gilroy was asked about the meaning of his film and in a cryptic manner, he responded that he would like people to perceive art differently. As we have proved time and time again that we can be a horrible species, I would say that I see where he is coming from and I’ll throw in my two cents. Instead of truly trying to appreciate and see art through the artists’ eyes, we make it all about ourselves, either by showing up at an illustrious museum just to be seen there or by benefiting from someone else’s expression. How? Most likely by fancily writing about it so we can look knowledgeable and special or by monetising it, upgrading our status at the same time. One way or another, we purely exploit it and try to hide the fact that we couldn’t do it ourselves.
Meaning aside and changing the subject, having watched numerous Netflix productions, once again, I would like to throw in my two cents. I think there is a resounding statement here that has been repeatedly given for quite a while now. By Netflix. “We don’t give a s#@% !!! Is your film thought-provoking? We’ll make it! Is it bizarre? Bring it! Is it something no one wants to produce? We will! We don’t give a s#@% which festivals accept our submissions! We couldn’t care less which studios alleviate our success! We spend billions and we make even more! And we do everything! We just… Don’t. Give. A. S%#@.