Loretta is a singer and escort in a mob-owned NYC nightclub and illegal casino. The favorite working girl of manager George, Loretta is unhappy with her current occupation and looking for a way out. George, meanwhile, is losing his stranglehold on the business. Complications arise when Loretta finds herself falling for a man she meets in her off-hours.
Even with its straightforward premise, “Richard Jewell” is ramped up by exceptional drama. In all honesty, the performances are out of this world. As Jewell, Paul Walter Hauser becomes a walking representation of gullibility. His bumbling antics create the perfect hero, and very quickly, we feel the societal heat that surrounds our protagonists.
I’m still trying to comprehend the psychological and moral implications of their fascination with each other, or why their almost written-in-the-stars depth of connection makes so much sense.
These confines won’t really encourage you to read the film as a metaphor for the nerve-inducing experience we’ve all been through over the last year, however — and in the interest of maintaining your dignity, you probably shouldn’t. While the sociopolitical commentary may have worked for the similarly-themed Buried (2010), in which we find Ryan Reynolds on his own buried alive in the Middle East, but this futuristic take on the premise is best left as a piece of distracting entertainment. Nevertheless, the atmosphere is no less suffocating, literally and dramatically.
The 'Shaft' remake fails to capture Blaxpoitation's rebellious spirit.
The film didn’t have to be as long as it is. It just dragged on and on with scenes that had no substance. Every so often we get an action scene, and even those isn’t that fun.
A chilling return to the Final Destination franchise with a terrifying twist on fate. Bloodlines explores whether Death can hold a grudge across generations—and what happens when the past won't stay buried.
