Twenty years ago, Antoine Fuqua directed the critically acclaimed Denzel Washington/Ethan Hawke thriller Training day. This is easy to remember, because since then almost every trailer for Fuqua’s movies has “fallen from the director” Training day“As a major temptation. (Other similarly successful films in the fall of 2001 did not have this difference.” From the director Don’t say a word“It has not become a common marketing shorthand.) This shows how closely Fuqua is connected to police films, even if they only account for a small part of his film work. He completed science fiction (unlimited), boxing diagram (left handed), and Westerns (remake The great seven), as well as a large number of non-police action movies and Denzel cars.
But he is still the “director Training day“It’s as if it’s never happened in the past 20 years. But this time it feels right: his new Netflix movie guilty An accidental companion to his past police story. This is a police thriller in which the policeman played by Jack Gyllenhaal is confined to a few rooms.
In this remake 2018 Danish Films, Los Angeles police officer Joe Baylor (Gyllenhaal) is answering a 911 call after being demoted. At first, using this job as punishment sounded like an insult to the professional operator of the system. But after a while, Joe’s task began to feel like a punishment for them, considering his constant testing of low-key colleagues. Joe obviously wanted to leave his desk and go back to the street. During his work, he took a few private calls, suggesting that he hoped to take him there for a swiftly approaching hearing. He also personally called to ask about his forced marriage on the rock and the disputed custody of children.
But when he receives a call from a crying woman, he will be distracted from any unpleasant things waiting for him outside the dispatch room. She was driven somewhere in a van against her wishes. A man shouted threats in the background. She needs help, and too many emergency responders on duty are busy responding to wildfires in California.
Faced with this situation, but seemed to be excited by the opportunity to play the police again, Joe made various calls to different law enforcement agencies while studying the case, trying to help the lady from his desk. guilty It’s a single-site thriller; except for some fixed shots and brief blurred images, it stays in the call center with Joe. Fuqua started with a music video, and it’s easy to imagine that in an early version of his career, this movie relied heavily on fast editing, impressionist lighting, and dramatic angles to enrich the limited action. Although there is a little bit here, Fuqua more often determines his style while maintaining the material’s run time of more than 90 minutes. As Gyllenhaal became more crazier, the film used fewer edits-some of the most tense orgasmic scenes were staged in extended static shots of the actor’s face.
Down guiltyMuddy setting-no different from the 2013 Halle Berry thriller telephone -It’s a more psychological human drama, involving Joe’s troubled history and exhausted mentality. Like Fuqua’s other police thrillers, the balance between genre thrillers and potential social relevance is not always elegant.most guilty It involves the threat of child harm dangling in front of the audience, followed by a mental illness treatment that lies between compassion and exploitation. It seems that the real interest in how to tell police stories in 2021 alleviates some of these problems. Fuqua and his ruthless pulp expert Nic Pizzolatto, Real detective The writer who adapted this script obviously did not want Tin Ears to return to the early days of police stories.
Although Fuqua’s film did not shy away from law enforcement misconduct—recall that Washington won Training day Oscars-they are usually tied with innocent, honest police. guilty There is only one “real” policeman on the screen; the rest are the voices on the other end of the phone, or officials who are not angry about their full-time job in the call center.The phone-only cast is impressive: Peter Sasgard, Riley Keogh, Ethan Hawke, Davin Joy Randolph and Paul Dano are all calling as if This is a huge drama Fraser.
But Gyllenhaal is the whole show, and his irritable, impulsive, and struggling character does not completely glorify his work. His unhappiness gave the film an advantage, and perhaps a sense of solemnity for nothing. Despite all the impressive intensity that Gyllenhaal summons as the film slowly clarifies the pain of Joe’s full storyline, his presence feels like a shortcut, albeit impressive—almost guaranteed the film Will be taken more seriously. Maybe it should be; there is value in solving serious problems from the confines of fancy pulp thrillers.But like Training day, Memorable performances sometimes dominate the drama rather than serve it.
guilty It is now playing on Netflix.