Anthony Mackie rises above a rickety remake of a French thriller about a wet-nurse teaming up with criminal matters after his wife is kidnapped
In order to create the optimal view suffer for rickety Netflix thriller Point Blank, a quickie remake of the acclaimed 2010 French movie, promises should either be lowered or, even better, eradicated totally. It’s an easy-to-follow strategy given that a) Netflix original films are patchy at best and b) here’s yet another one of them that’s received no kind of marketing move. The Adam Sandler/ Jennifer Aniston comedy Murder Mystery was a solidly enjoyable watch given that it was ” largely agreeable” compared against” totally wretched” like Sandler’s other Netflix titles while Hilary Swank’s sci-fi thriller I Am Mother was a pleasant astonish given that no one truly knew it existed until the day it dropped.
In a different age 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 produce it an appropriate background watch at best. Yet there’s also just enough here to attain me wish it had been that bit better, a serviceable watch with a frustrating throughline tantalizing what have had an opportunity to. The film’s most pronounced ace is superstar Anthony Mackie, taking over the everyman lead from Gilles Lellouche, playing ER nurse Paul, a mortal dealing with long, gory changes 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 crashes with Abe( Frank Grillo, playing a lampoon of himself ), a case-hardened criminal in his care, suffering from a gunshot weave after what appears to be a botched getaway from a slaying scene. Paul is abruptly dragged in deeper after his wife is kidnapped and Abe’s brother informs him that to get her back safely, he has to break a heavily guarded Abe out of hospital.
At a brisk 86 times, Point Blank doesn’t have time to waste and in the first act, the snappy tempo does give the film a lightfooted slickness, hurling us into the action and fastening our interest with a juicy set-up, one that’s already inspired three other remakings. It likewise intends the clunkier components don’t have much time to stay or, if they do, they furnish some unintentional fun, from the threatening texts always transmitted, for some bizarre reason, in quotation marks (” I’m gonna thrust you thru the heart w a fucking pencil”- BIG D) to the clunky first draft dialogue (” What happens if something happens to my baby ?”). We’re never far out of familiar province( the plot revolves around securing a USB stick) but for a while, the film lunges us along with it anyway.