The 'Not-So-Critical' Critic:
on DEATH WISH (2018, 107 minutes, R)
The Quick of It -
When I walked into the theater, I thought it would be nearly
empty. When the lights dimmed and the
screen lit up, I thought this action film would be centered on its violent
moments (not that this is a bad thing). I
thought there would be little real substance to this film, a film I had a cursory
interest in seeing.
Goes to show…
After the mass influx of remakes, skepticism sets in
quickly. The original DEATH WISH (1974) with
Charles Bronson is iconic to the ‘vengeance genre’. Why take on such a prolific project that will
be scrutinized by everyone? You see,
those old-fart critics will remember and idolize the past. Also, the current social climate with the
school shootings at the forefront of everyone’s mind does nothing to help sell
tickets. Now you understand why my
thinking was so slanted at the time.
My first mistake was not accounting for the bold and driven
director, Eli Roth. His background is
extensive in the film industry, mostly outside of directing. You can see his love for filmmaking goes into
creating a dynamic project rather than making a paycheck. Yes, I found DEATH WISH to have a number of
levels that could have been easily discounted being an action film at its core. Also, cinematographer Rogier Stoffers and anyone
behind the set locations crushed it. The
streets of Chicago could not look any more alive, adding to each set shot and
transitional clip something tangible.
This is a full package visually.
Then, the one thing I didn’t discount is my fanboy addiction
to Bruce Willis. He will always be one
of my favorite actors, regardless the role.
Bruce made this his film. He
plays Paul Kersey, a doctor who must find some comfort after his wife was
killed and daughter put into a coma from a forceful break-in. The storyline starts with building that
connection between the family, building towards that moment requiring empathy from
the observers. His wife played by
Elizabeth Shue (from LEAVING LAS VEGAS, ADVENTURES IN BABYSITTING, and THE
SAINT) and daughter played by up-and-coming Camila Morrone did not falter. The result is a film that touches on more
than the violent nerve. You couldn’t
help but follow the struggle of Dr. Kersey, finding his therapeutic devices
liberating in the extremist of senses.
It’s unfortunate that this film is released at a poorly
timed moment. I do hope it gets some
respect. If nothing else, I also got to
see Vincent D’Onofrio still finding work.
Yeah, another fanboy addiction.
Grade: B+
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