After Davey's father is killed in a hold-up, she and her mother and younger brother visit relatives in New Mexico. Here Davey is befriended by a young man who helps her find the strength to carry on and conquer her fears.
Amy Jo Johnson,
Writer-Director Bernardo Gigliotti's Ordinary Madness is a Hitchcock-like thriller set in Los Angeles. Bobby Lang is a handsome young drifter who moves to Los Angeles to start a new life. ... See full summary »
Screenwriter David Sumner travels with his wife Amy in his Jaguar to her homeland Blackwater, in the Mississippi. Amy's father has passed away and David intends to write his screenplay about Stalingrad in the house. David hires the contractor Charlie and his team to repair the roof of the Barn. Amy was the sweetheart of Charlie when she lived there and neither him nor his crew show respect to her. Charlie invites David to hunt deers with his group and him but they leave David alone in the woods and rape Amy. She does not tell to David what happened but when the drunken coach Tom Heddon calls Charlie and his friends to hunt down the slow Jeremy Niles that likes his daughter, David decides to protect not only Jeremy, but also Amy and his honor. Written by
Claudio Carvalho, Rio de Janeiro, Brazil
The book that David has next to him on the kitchen table when he is working early in the movie is 'Stalingrad' by Anthony Beevor. See more »
When David finds the dead cat in the closet he turns off the light and closes the closet door. A moment later when Amy opens the closet door the light is on. See more »
See there Mr. Sumner, you ain't the only one with a trophy wife. Only difference is, mine's for third place.
Believe it or not, that's the most romantic thing he's ever said. That and, "You're what?"
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The ambiguity and subtleties within every character's actions have been replaced with spoon-fed notions of right and wrong.
It's a testament to the power of Straw Dogs' story (Sam Peckinpah's adaptation of Gordon Williams' novel) that the 2011 remake is still entertaining despite its numerous shortcomings in both complexity and artistry to its predecessor. Director Rod Lurie's retelling trades conflicted characters and intricate ideals of bravery and cowardice with plain-dealing motives and basic revenge; Peckinpah's flair for operatic visuals is sadly absent. So too is the contemplative nature of the whole affair the ambiguity and subtleties within every character's actions have been replaced with spoon-fed notions of right and wrong. It's impossible to avoid comparison to the original film, and doing so would be a disservice to the discerning viewer. Those that loved Peckinpah's creation will likely find little value in Lurie's version, but for those who haven't seen it, the remake does offer a humble taste of the brilliance you're missing out on.
Screenwriter David Sumner (James Marsden) and his wife Amy (Kate Bosworth) move to her old hometown of Blackwater, Mississippi with the hopes of peace and quiet so he can write his newest script. When Amy's former boyfriend Charlie (Alexander Skarsgard) and his buddies Bic (Drew Powell), Chris (Billy Lush), and Norman (Rhys Coiro) are hired to repair the Sumners' garage, the bullying of David and unwelcome advances toward Amy begin. As the taunts and threats steadily escalate to a horrific act of violence, David must take a stand and defend his new home with an equal force of savagery.
Everything questionable, objectionable and controversial about the original Straw Dogs has been finely filtered out, leaving a straightforward, simple revenge story. None of the artistic violence, symbolic editing or jarring music remains. This update goes so far as to spell out the significance of the title, as well as adding the line "maybe you should wear a bra," which drastically dumbs down the purpose of Amy's appearance. If it weren't for the fact that the target audience is likely to have no knowledge of the 1971 version's existence, this level of defining, dulling and allaying disputatious content would be insulting. Extra references to the predominant themes, such as the inclusion of research on Stalingrad, further add to the intellectual affront.
Minor details have changed but the basic ideas are still present. Some of the original dialogue is reused (including snippet jokes that are no longer relevant), several scenes are nearly identical, a few props reappear, and even a couple of camera angles pay homage to Sam Peckinpah's vision. The competition, power struggle, vigilantism, Of Mice and Men subplot, conflict with religion, psychological breaking point examination and underdog vengeance aren't forgotten, however, and it's hard not to admire the cathartic power of the hero rising to the occasion and giving the villains what they so desperately deserve. It's essentially a two-hour, disturbing, suspenseful build to an explosive conclusion one that abruptly stops when the last antagonist has fallen. But it's also difficult for Marsden to compete with Hoffman and for director/screenwriter Rod Lurie to match the originality and creativity of Peckinpah's turbulent classic.
The Massie Twins (GoneWithTheTwins.com)
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