Anthony Mackie rises above a rickety remake of a French thriller about a nurse teaming up with a criminal after his wife is kidnapped
In order to create the optimal viewing experience for rickety Netflix thriller Point Blank, a quickie remake of the acclaimed 2010 French film, expectations should either be lowered or, even better, eradicated completely. Its an easy-to-follow strategy given that a) Netflix original films are patchy at best and b) heres yet another one of them thats received no form of marketing push. The Adam Sandler/Jennifer Aniston comedy Murder Mystery was a solidly enjoyable watch given that it was mostly agreeable compared to utterly wretched like Sandlers other Netflix titles while Hilary Swanks sci-fi thriller I Am Mother was a pleasant surprise given that no one really knew it existed until the day it dropped.
In a different era and with a bit more budget, Point Blank could have been a throwaway January release, probably starring Liam Neeson, but now the best place for it is undeniably Netflix, its undemanding nature and flat aesthetic making it an adequate background watch at best. Yet theres also just enough here to make me wish it had been that bit better, a serviceable watch with a frustrating throughline teasing what could have been. The films most pronounced ace is star Anthony Mackie, taking over the everyman lead from Gilles Lellouche, playing ER nurse Paul, a man dealing with long, gory shifts at work and a heavily pregnant wife (the ever-underused Teyonah Parris, last underutilised in If Beale Street Could Talk) at home.
His life soon collides with Abe (Frank Grillo, playing a parody of himself), a hardened criminal in his care, suffering from a gunshot wound after what appears to be a botched getaway from a murder scene. Paul is suddenly dragged in deeper after his wife is kidnapped and Abes brother informs him that to get her back safely, he has to break a heavily guarded Abe out of hospital.
At a brisk 86 minutes, Point Blank doesnt have time to waste and in the first act, the snappy pace does give the film a lightfooted slickness, throwing us into the action and securing our interest with a juicy set-up, one thats already inspired three other remakes. It also means the clunkier elements dont have much time to stick or, if they do, they provide some unintentional humour, from the threatening texts always sent, for some bizarre reason, in quotation marks (Im gonna stab you thru the heart w a fucking pencil BIG D) to the clunky first draft dialogue (What happens if something happens to my baby?). Were never far out of familiar territory (the plot revolves around securing a USB stick) but for a while, the film hurtles us along with it anyway.
This post was curated & Posted using : RealSpecific
If you enjoyed our content, we'd really appreciate some "love" with a share or two.
And ... Don't forget to have fun!