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Matt, a home arcade games programmer runs into an old acquaintance who saved his life years earlier from a burning automobile. The rescuer, Simon, is down on his luck, living like a bum. The grateful Matt feels obligated to help Simon, so he takes him into his home and gets him a job in the mail room of his company. However, what Matt doesn't know is it was no accident running into Simon, and Simon has an old score to settle with Matt, going all the way back to the night Simon saved Matt's life. Written by
The script of "One Good Turn" gives the actors little to work with. It features standard characters, plot holes the size of craters and pacing inconsistent enough to make it tough to buy the sense of peril.
Despite this, James Remar manages to make his role multi-layered and worthy of bit of sympathy. In the moments where his character is doing something evil, he has a concentrated focus that is neither evil nor sane. Instead, he slowly draws his madness and revenge towards the conclusion that is inevitable but somehow unexpected. The script lets him down by relying on a hackneyed flashback technique. But his final moment is infused with a resignation and sensitivity that this type of film usually can't achieve.
Wath One Good Turn for Remar and ignore the script.
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