Review: “I no longer feel at home from Netflix in this world” is a dark and clumsy neo-black
“What do you want?” An exasperated little criminal asks Ruth Kimke (Melanie Lynskey), who is in the middle of the strange vigilante to unleash the new film I no longer feel with me in this world. Ruth thinks a second. “So that people are not assholes!” She answers, who makes a good battle cry that anyone in these angry and polarized times. Ruth is an appropriate anti-hero for 2017: she is depressed, she is taken for acquired in her work, and she did not know where to direct her resentment.
Thus, when he gets rid, he has all kinds of involuntary consequences, certain comics and others not. Macon Blair's first film, I no longer feel with me in this world is a piece of neo -black that swerves between Indie Sweet comedy and horrible violence with ease – a combination that helped him win the jury of the jury of the Sunning Film Festival this year. The film, released on Friday on Netflix, is anchored by Blair's eye for the horrible, which he surely picked up as an actor on projects like Gory de Jeremy Saulnier Green room. To his best, Blair's film is like Simple Blood Cross with the three respects – a story of intelligent and grainy revenge to its most inept, anchored by performances that are full of clumsy fury.
The protagonist, Ruth, is a nurse living a fairly dull life in an anonymous city. Blair takes care of focusing on the tiny and insignificant details that clearly weigh on her, whether someone cuts in front of her in the supermarket, or a local dog constantly using her courtyard as a bathroom. When Ruth's house is robbed, the loss of his property seems to have less importance than the indignity of the question. Local cops hardly make a report, leading her to decide to take the question in her hands.
But I no longer feel with me in this world is less like Joel Schumacher To fall That it seems, at least for most of its operating time. Ruth's confused mission is largely focused on the search for his business in lenders on local wages and the user; She is more interested in recovering a little pride than to find her laptop. She enlisters her bizarre neighbor Tony (played by Elijah Wood) as a safeguard, attracted by (if he is disgusted) of her impudeity by leaving her dog defecating on her property.
Tony is the kind of neighbor you are probably trying to avoid interacting with too much if he lived near you; It has a collection of nunchucks and ninja stars but little social aptitude. But he proves a perfect companion for Ruth and is impatient to use his quest for a kind of ineffable justice as a outlet for his own unlimited rage. They are a pair of strange heroes for which you root you, and there is something dark to watch them run. Ruth finally secures a few small moments of small triumph-that is to say until she meets the shaded authors of her burglary and things really go down in chaos.
Blair started as an actor working with his childhood friend Saulnier, the American director of independent horror who deploys very realistic and very shocking violence scenes of violence in films like films like Green room And Blue ruin. SO I no longer feel with me in this worldThe possible nightmare turn is logical, and there is certainly something to say for the bloody creativity exposed. But as the film continues, it becomes difficult to understand what type of point larger than Blair seeks to do. Is Ruth a modern Travis BickleJust as angry with society but much less skillful to resort to violence? If this is the case, his heart does not really seem to be there when the stakes become really fatal.
I no longer feel with me in this world is the most effective as a grumpy and shambolic comedy, an image of a bizarre boyfriend for Lynskey and Wood who sees the character of the first prickle in brutal selfishness and the second enjoying a rare chance of normal human friendship. It is less interesting as a bloody bloody thriller, but the end is memorable and Blair's skills to direct the action are undeniable. However, the film may work better by everyone as an unexpected treaty on the state of American ways in 2017 – and as a story in which the real villain is the lack of collective human empathy.
