Suddenly, I care it may seem like a dystopian reality, a parallel universe, a kind of alternative existence. The truth is that the new Netflix film is based on a real context that has the strength to surprise any viewer not aware of this facet of social policies in the United States. Screenwriter and director J Blakeson (from The Disappearance of Alice Creed – 2009 film), however, demonstrates knowing where he is standing. At least for a long time.
The structure of I Care a Lot (original title) is almost entirely thought out of the absurdity of the State at the service of private companies. The comedy tone here tries to expose how ridiculous the whole situation is and, little by little, fermenting revulsion towards the work of curator Marla Grayson (Rosamund Pike). That he is not the only one in the cog, that also passes by Judge Lomax (Isiah Whitlock Jr.) – incompetent and naive in a position that does not require training – and for each character-screw that exists only to keep the scheme working.
Heads up! This review may contain spoilers about the movie!
Courage, but not so much
It is interesting how Blakeson designs the film, developing a sense of evil and, at the same time, staying light in some way. Therefore, the protagonist can be exaggerated and minimalist simultaneously. The director demonstrates knowing how to play with this very vein of the actress and builds moments that add, exactly, the indignation without the admiration for Pike is lost. From the beginning, when she receives Judge Lomax’s first verdict and the board explores with a close the transformation of her seriousness into a slight smile, it is understood that the protagonist is a villain of the circle.
But Marla is not really the villain. The hole is lower – or higher in the case. In any case, Blakeson does not show that he is willing to explore this universe in depth and, for this reason, he remains in his own script, without seeking to foster subtexts beyond those that are visible. I can’t say that I care it is a courageous film therefore, but it may not be possible to say otherwise either. This is because, even if it does not go deeply into the system, it is a work that exposes and tries to ridicule the situation.
At this point, it is possible to exaggerate the involvement of the Russian mafia from a potentially very profitable victim. In this sense, the initially harmless Jennifer Peterson (Dianne Wiest) is the protagonist of one of the most satisfying scenes, when she warns Marla that she is going to be very bad. Under the effects of psychiatric medication, Cherry it gives the message and, because an aversion to the curator’s work has already been planted, a pleasure can be felt, an enthusiasm for believing that Pike’s character is in real danger.
The director, until then, treats the sequences with an almost mocking footprint, either when guiding the performances or when inserting elements almost nonsense in some moments. If Marla’s cynicism parallels that of attorney Dean Ericson (Chris Messina), Jennifer’s self-confidence in laughing at the caregiver is part of the safety of a women trafficker – her own son (Peter Dinklage). In fact, if the general situation takes on a strange shape with the appearance of the mobster Roman Lunyov (Dinklage), everything is illustrated, in the middle, with some slow motion scenes that seem to say something, but say nothing.
The top is beyond
Here is one of Blakeson’s greatest difficulties: when trying to make comedy with a reality that is at least strange, the director ends up investing more in ways that could create moments of laughter instead of trying to be sarcastic. I careIn this way, she starts very well and loses a lot of strength when inserting the mafia and making her incompetent in the simple act (for her – the mafia) of ending a caregiver.
Of course the narration in Off de Marla exists, at this point, to justify her abilities, ranging from a perfect scammer in an existing system to someone capable of being a lion and turning mobsters into lambs. It could work if the direction, as said, was sarcastic, if the direction had the talent to laugh at itself and, with that, left open the wound that is this facet of social policies in your country.
Fortunately, Pike is so safe that it brings Amy’s own echoes of Exemplary Girl (by David Fincher, 2014) and, in an outbreak that, fortunately, can bring satisfaction, has a momentarily adequate end. That’s because Marla goes through the one who was the victim of the transformation from seriousness to a slight smile. But the reality remains. If the smile, which is now wide open and forced, is registered – in close again – at the end of the day, the extermination of those who think of themselves as lions doesn’t matter much. This is not the way for lambs to be free and happy. Because the top of the chain is different.
I care is available at Netflix.
* This text does not necessarily reflect the opinion of Canaltech
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