Gilmour93

In a Violent Nature the Czech way. The protagonist's emptiness, egocentrism, and lack of empathy are interestingly reflected in the form, but starting with the suicidal shooting range boss and ending with Balcar, who awkwardly conveyed fleeting feelings of superiority, the acting is unconvincing. Added to that are a few peculiar scenes raising questions. Before the Glock test on the cattle, was there supposed to be some symbolism in that shadow moving across the landscape? And what about the warm-up before the hockey game? The ads on the boards don’t exist, so were they just covering up the CCM logos because the Canadians refused to co-produce? And that Vietnamese grocery store with pasta for two bucks and cigarettes for seven in 2005? The anachronism checker seemed to be in "Forget About It" mode. The last point is a minor detail, but it reflects the film’s overall lack of thoroughness.

Metaphors for domestic violence, alcoholism, or hereditary mental illness within a family, combined with the perspective of a ten-year-old child naturally navigating through myths and fairy tales, were elements that should have allowed the creators to explore rich thematic depth, but they failed to capitalize on them. The theme of monsters within people and their gradual revelation to those who were supposed to be protected from all evil could not sustain the atmosphere, and by the ninth shot of the Land Rover driving through the picturesque countryside, it had lost its impact. Besides the diminishing internal logic, the final impression is further undermined by the ineffective Kit Harington, who was outshone even by the black furry creature that could pretend to be grandma in bed. His buddy from The Wall should have slapped him; maybe it would have jolted him into action.

It's well known that the phrase “Nobody dies” is just a comforting lie. And so, they pull out a pack of cigarettes and light one up, even though they weren’t smoking the day before. The episode from World War II isn’t overly discussed, but it’s no surprise, given that the bloody maw of the Hürtgen Forest claimed over thirty thousand American soldiers in a few months. John Irvin's film is driven by authenticity, featuring a believable range of self-preserving characters that naturally evolve into heroic figures, and includes several scenes that will undoubtedly stick in one's memory (a few seconds of hell between anti-personnel mines, the “Dracarys” of the soldier Sanderson in eliminating a German gun, or the cathartic credits with dragon’s teeth and the Christmas Bing Crosby). Frank Whaley had the chance over four years to test whether it was harder to act as a lapidary behind the Siegfried Line or recall under Jules Winnfield’s pressure if Marsellus Wallace looks like that bitch. A tough choice.