See you – 7 points
See you, EE.UU, 2019
direction: Adam Randall
Script: Devon Gray
Duration: 98 minutes
Translators: Helen Hunt, John Tiny, Judas Lewis, Owen Teague, Libby Barr
the first show And Netflix
With three films so far, British Adam Randall He appears to be the heir to a tradition that no longer exists: the filmmakers tradition Modest genre filmsThose who focus their ingenuity on purifying an amusement that claims nothing more than that. And this is precisely why, to not pretend to be, is that it ends up being so, and also something more than that. Both are in previous films shot in their home country (Level up, 2016; I am a boy, 2016, the latter can be seen on Netflx) as in See you, First in the US, which too Netflix just loaded onto its platformRandall was operating in second-order circumstances: limited budgets, unknown actors or (as we’ll see) a veteran rescued from oblivion, little special effects, narration reduced to basic facts, condensation.
The savior Helen Hunt, Sunk for twenty years in movies and series from the heap, who really shares the lead role with her husband’s character and boy who want to have fun playing a little to the fullest. Something funny, See you It can be defined as Polyphonic storyIf not, polyphony presupposes complex arrangements, whereas the tools (characters) here are nothing more than that: the tools of the plot.
See you Is if, The movie “Maktoob” (Devon Gray), effectively. And in some cases, more effectively, as in the climax at the end, which rises towards the sky like a person showing the familiar relic of the Apocalypse. Jackie Harper’s face (Hunt) might be sad and dangling angles because even her husband Greg (John Tiny, who has spent the past two decades in the same type of production as his co-star, except that he’s just not a decade old). Hunt) or his teenage son Connor (Judas Lewis) They forgive him for a misstep he made some time ago. Although, this is not really the case, as it is not related to the heart of the plot. More importantly, and the success of the staging, is that in one of the first sequences, Greg emerges out of nowhere, like a ghost, first hears his voice off the field and then enters the field in a surprising manner. One wonders why in such everyday situations as breakfast the father is served this way, and there is an answer.
Greg is a policeman and responsible for an unresolved caseSeveral boys disappeared from the neighborhood the moment another boy was found in the woods. In this case, a dead boy is the product of another interesting scene, the opening scene, in which he is seen riding a bicycle and then suddenly bouncing in the air, as if he has collided with a ghost. This narrative line intersects with another line, which is the break into Gray’s home of a teenage couple, who do what the parasite family is doing. parasiteThey live in hiding under someone else’s roof, called an already existing practice phrogging.
Obviously, the two narratives will intersect, but it is not clear how or why. The script handles skillfully Puzzles of the storySigns, surprises, and echoes ( phrogging, Frog mask, green), evokes a structure of three simultaneous occurrences that unfold in three consecutive blocks, each of which corresponds to the three perspectives from which they are listed. For a modest little movie, it’s not bad.