Skip to main content

Blue Ruin Review


I went into this film with very little knowledge... like I enter all things, with very little knowledge... I only knew that it was a revenge tale, that the director had cashed in his wifes retirement to pay for it and Sundance who had initially rejected the film later went on to say that rejection was a mistake. Those scrappy underdog stories always capture my imagination but its seldom the films live up to the folklore that builds up around them. Blue Ruin not only lives up to the lore, it transcends it. You will forget about the stories surrounding the making of the film/release of the film and accept the movie for what it is, a masterpiece.

This is an honest look at revenge. We all like to imagine if we set out on a path of revenge we would react and act like Liam Neeson in Taken but the truth is most of us would act like Dwight in Blue Ruin. We would make mistakes and hurt the wrong people, leave behind evidence and do countless other things that would never make the cut in a Luc Besson picture.

I'm not sure that giving away the plot details of this film would have any impact on your enjoyment but because it is so sparse when it comes to plot I'll avoid revealing anything more than I already have. Just know that this film is raw and at times brutal in its execution. The film is also a testament to how far digital film making has come. Blue Ruin was made on a shoestring budget but it looks very polished. Ten years ago a film made on this budget would have looked far worse.

We are in the middle of an independent film renaissance and film makers like Jeremy Sauliner are reminding us that not all films need to be retreads of tired subjects, that directors and writers with unique voices should be celebrated and supported.

Blue Ruin is currently available on VOD

Comments

Popular posts from this blog

THE True Bromance Film Podcast - Spider-Man: Into the Spider-Verse

Episode 208 - Spider-Man: Into the Spider-Verse

We like to keep up with the latest and greatest in the film universe so for this episode we're dialing up Spider-Man: Into the Spider-Verse. In a world where superhero films saturate the market, can an animated feature distinguish itself from the pack?

MOVIES DISCUSSED THIS WEEK:

A Fistful of Dollars, The Favourite, Skyscraper, The Meg, RBG, Ant-Man and the Wasp, Searching, Spider-Man: Into the Spider-Verse


LAFF review A CROOKED SOMEBODY

2107
Directed By: Trevor White
Starring: Rich Sommer, Clifton Collins Jr., Joanne Froggatt, Amanda Crew, Ed Harris
Producers: Jason Potash, Paul Finkel, Tim White, Wayne L. Rogers Sales: CAA
Ambition is a powerful drug that can inspire positive change. It can force you outside of the comfortable boxes you place yourself in. It asks you to stretch and reimagine not only the person you are but the person you could be. Most great men and women have a deep relationship with what they see as their purpose. This is a personality trait never driven by or limited to the pragmatic and there in lies the problem. Logic be damned, when a sense of determination is your north star. 
Michael Vaughn (Sommer) is an ambitious psychic on the road promoting a book that no one is buying. Using parlor tricks and audience plants Vaughn helps people "connect" with loved ones who have passed on. Somewhere in between a traveling preacher and a low-rent John Edwards he sees himself as a man destined …

SONG OF SOLOMON Review

Exorcism films do not begin and end with William Friedkin's THE EXORCIST. With entries as varied as BEETLEJUICE, CONSTANTINE, and THE RITE, the exorcism sub-genre of horror films is far more diverse than many immediately recognize.  

With THE SONG OF SOLOMON director Stephen Brio has added a unique take on the possession movie. In his film, the Catholic church attempts to save the soul of Mary (Jessica Cameron) who appears to have been possessed after witnessing her father's brutal suicide.

Mary is off camera while her father takes his own life. In a scene that could play as a confessional or an accusation, the family's patriarch lists off the reasons why he is being forced to use his knife on Mary and himself. He details how they were a good, loving family and he can't understand why she is accusing him of abuse. Using demonic control as a metaphor for trauma survival is something so natural, I can't believe it's not woven into every film of this kind.

Jessic…