A mysterious outsider's quiet life is turned upside down when he returns to his childhood home to carry out an act of vengeance. Proving himself an amateur assassin, he winds up in a brutal ... Read allA mysterious outsider's quiet life is turned upside down when he returns to his childhood home to carry out an act of vengeance. Proving himself an amateur assassin, he winds up in a brutal fight to protect his estranged family.A mysterious outsider's quiet life is turned upside down when he returns to his childhood home to carry out an act of vengeance. Proving himself an amateur assassin, he winds up in a brutal fight to protect his estranged family.
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Like everyone else probably has already said, there is something of the Coen Brothers about this film, but not in terms of humor or oddity, but rather in its stripped down violence that worked so well in Blood Simple. The plot here sees a homeless man learning that the man who murdered his parents has been released from jail. He sets out for revenge, but the attempt goes badly, putting his estranged sister and family at risk.
Starting out mostly in wordless scenes, the film draws us in with Dwight revealing a lot of his life and what led him there, all with little touches and moment. We don't fully understand the ins and outs of it all, but the gist is clear and it is engaging. The steady pace of the start continues throughout, and it works well to produce tension and build-up within scenes, but also across the film as a whole. The stripped down feel to the writing, soundtrack, and production all add to that sense of tension - it doesn't feel forced for flamboyance or excessive (although the closing scenes maybe do a bit, to their slight detriment). There isn't a 'side' really, although of course we follow Dwight as our way in - but it is the spiral and lack of choice that draws the film along just like it does to him.
Blair is the star here and he holds the film together. He is convincing in his simplicity, and delivers an engaging character whether he is on the beach at the start, making bad decisions, or dealing with a mess he has no way out of. The supporting cast are all good (and benefit from a lack of 'faces'), but it is Blair's film throughout. Writer/director Saulnier has a deft touch for tension, with good camera movement when it matters (tracking what isn't visible for example), as well as allowing nothing to happen at times when so much is at stake.
Blue Ruin was a surprise find at a time when I knew nothing about it but the running time fitting my evening. It turned out to be a gripping but sparsely populated film, which played to its strengths from start to finish.
Starting out mostly in wordless scenes, the film draws us in with Dwight revealing a lot of his life and what led him there, all with little touches and moment. We don't fully understand the ins and outs of it all, but the gist is clear and it is engaging. The steady pace of the start continues throughout, and it works well to produce tension and build-up within scenes, but also across the film as a whole. The stripped down feel to the writing, soundtrack, and production all add to that sense of tension - it doesn't feel forced for flamboyance or excessive (although the closing scenes maybe do a bit, to their slight detriment). There isn't a 'side' really, although of course we follow Dwight as our way in - but it is the spiral and lack of choice that draws the film along just like it does to him.
Blair is the star here and he holds the film together. He is convincing in his simplicity, and delivers an engaging character whether he is on the beach at the start, making bad decisions, or dealing with a mess he has no way out of. The supporting cast are all good (and benefit from a lack of 'faces'), but it is Blair's film throughout. Writer/director Saulnier has a deft touch for tension, with good camera movement when it matters (tracking what isn't visible for example), as well as allowing nothing to happen at times when so much is at stake.
Blue Ruin was a surprise find at a time when I knew nothing about it but the running time fitting my evening. It turned out to be a gripping but sparsely populated film, which played to its strengths from start to finish.
BLUE RUIN is a fine revenge thriller of the type that you thought America couldn't make anymore. These low-fi films are the opposite of the bloated and glossy Hollywood-style blockbuster and all the better for it. The film I can most liken it to is THE ROVER, a similar low-key Aussie story about the path of revenge and the unusual outcomes that one must face when embarking down it.
To say too much about the plot of BLUE RUIN would be to spoil it, so I won't. What I will say is that this is a slow paced and spare film that keeps you gripped throughout, including in the moments where not much happens. It has a drive and consistency that makes it work. The suspense keeps you hooked to the ensuing events and the violence, when it comes, is brief but extremely hard-hitting. A squad of naturalistic performances enhance a film in which realism is key, and the result is one of the freshest American thrillers to be made in years.
To say too much about the plot of BLUE RUIN would be to spoil it, so I won't. What I will say is that this is a slow paced and spare film that keeps you gripped throughout, including in the moments where not much happens. It has a drive and consistency that makes it work. The suspense keeps you hooked to the ensuing events and the violence, when it comes, is brief but extremely hard-hitting. A squad of naturalistic performances enhance a film in which realism is key, and the result is one of the freshest American thrillers to be made in years.
One of the strongest achievements in recent years in independent cinema is "Blue Ruin". It's brilliantly written and directed by Jeremy Saulnier who just a few years ago was making his own amateur monster movies with his friends, some of whom were involved in this inspired revenge thriller that is the antithesis of the usual commercial revenge thriller.
Shot on a less-than-shoestring budget, it stars Macon Blair (best friend of Saulnier since childhood) as Dwight, an apparent homeless drifter housing a grudge against a convict about to be released from prison whom he feels had murdered his parents. Dwight is obviously unaccustomed to violence (he's never fired a gun) and, as in the best of the Noir classics, makes one bad decision that plunges him way over his head into a harrowing murder plot that'll keep viewers on the edge of their seats.
What makes this film so unique is how its suspense comes from slow, quiet inexorable tension punctuated with a few acts of violence that seem authentic, bearing none of the sensationalism or tired clichés one gets in garbage like "Taken" and its tiresome ilk. The triumph of "Blue Ruin" is even greater when one realizes that its director used his own family house and his family car making it, and managed such a height of verisimilitude by using cinema in its purest form. Here an 'amateur' outdoes the Hollywood pros in making a superb virtually perfect thriller that won't easily be forgotten.
Shot on a less-than-shoestring budget, it stars Macon Blair (best friend of Saulnier since childhood) as Dwight, an apparent homeless drifter housing a grudge against a convict about to be released from prison whom he feels had murdered his parents. Dwight is obviously unaccustomed to violence (he's never fired a gun) and, as in the best of the Noir classics, makes one bad decision that plunges him way over his head into a harrowing murder plot that'll keep viewers on the edge of their seats.
What makes this film so unique is how its suspense comes from slow, quiet inexorable tension punctuated with a few acts of violence that seem authentic, bearing none of the sensationalism or tired clichés one gets in garbage like "Taken" and its tiresome ilk. The triumph of "Blue Ruin" is even greater when one realizes that its director used his own family house and his family car making it, and managed such a height of verisimilitude by using cinema in its purest form. Here an 'amateur' outdoes the Hollywood pros in making a superb virtually perfect thriller that won't easily be forgotten.
Blue Ruin.
OK. If you like No Country For Old Men, Falling Down, Reservoir Dogs, Taxi Driver, ...take out the commercial element from all of these and just leave the bare-bones of the pure cinema with: A/ actor who's face looks like your shy friend B/you cannot see any high-budgeted actor in it but all of them play better than Daniel Craig and Al Pacino altogether C/the script will take your head off even if you have been prepared for it and watched thousands of B/Indie movies in advance D/the camera work is magnificent E/Trust me, I am a Doctor: if you like a good action movie not set up upon Hollywood standards watch this movie after 00:00 and you will not be disappointed.
So far the best MOVIE of the year.
OK. If you like No Country For Old Men, Falling Down, Reservoir Dogs, Taxi Driver, ...take out the commercial element from all of these and just leave the bare-bones of the pure cinema with: A/ actor who's face looks like your shy friend B/you cannot see any high-budgeted actor in it but all of them play better than Daniel Craig and Al Pacino altogether C/the script will take your head off even if you have been prepared for it and watched thousands of B/Indie movies in advance D/the camera work is magnificent E/Trust me, I am a Doctor: if you like a good action movie not set up upon Hollywood standards watch this movie after 00:00 and you will not be disappointed.
So far the best MOVIE of the year.
This is a simple movie, yet very effective and original. With an ironic twist, it has a powerful message that will make you think. It is short and very watchable, and quite memorable. Highly recommended
Storyline
Did you know
- TriviaBen Gaffney (Devin Ratray) is based on a real high school friend of director Jeremy Saulnier. Saulnier contacted the real Ben while he was writing the script to get an accurate representation of Ben's moral views, and gun collection.
- GoofsWhen Dwight stops at the diner to inspect the parked cars, he tests the handle of the Chevrolet truck. The door is supposed to be locked, he goes on to bust the window out. However, when he tests the handle, the door opens a little bit, thus revealing that it wasn't locked in the first place.
- ConnectionsFeatured in Half in the Bag: 2014 Movie Catch-up: Part 1 (2014)
- SoundtracksStunt Double
Written by Billy Brent Malkus
Performed by The Texas Sapphires
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Box office
- Budget
- $420,000 (estimated)
- Gross US & Canada
- $258,384
- Opening weekend US & Canada
- $32,608
- Apr 27, 2014
- Gross worldwide
- $993,313
- Runtime1 hour 30 minutes
- Color
- Sound mix
- Aspect ratio
- 2.35 : 1
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