I’m writing this in semi-outrage. Every regular haunt I have frequented where I like to do my writing has been hijacked by a corporate event of some kind. Why can’t they have their office parties in the office like how I envisioned boring office parties to be and has been so effortlessly articulated in Peep Show. What awkwardness happens at the office party stays at the office party, not in front of innocent bystanders like myself, who have to bear witnesses to this awkward remonstrations. Also I’m sitting in the eye-line of someone who used to be on Eastenders who seems desperate for someone to acknowledge that. If I weren’t in such a good mood after watching a very good film (and I wasn’t so British about showing distaste, I’d make my annoyances known. But alas I’ve  I happened to hit the jackpot twice where my cinema outings have concerned so all is good. United in affable weirdness, I present my first review of Blue Ruin (Frank review soon to follow).

Blue Ruin

A rejuvenation of the revenge thriller, this is a clever, taut piece of independent filmmaking. A basic feud narrative between two families, this film reminds me somewhat of Mud, certainly in aesthetics. But more accomplished in story. The aesthetic, while grimy, is never exploitative nor stereotypical of “redneck” USA. No assumptions should be made about the persons that populate this film. In fact, the film goes to some length to present families who may be from alternative spectrum of class, wealth and education thrown together by a shared past, but who all inevitably follow the same path to destruction. The film is astute in it’s exploration of how acts of violence begets more acts of violence, a sorry cycle that anyone regardless of background can find themselves.

What also is a wonder is the enigmatic lead Dwight portrayed by Macon Blair. We are introduced to a presumably peaceful drifter, who due to unknown hardships and circumstance at this point has been reduced to living out of his car as a beach bum. This all changes when he hears that a convicted murderer has been released from prison. His gruesome disposal of this newly released convict sets of a chain of acts of retribution as the murdered man’s family seek to Dwight and those close to him.

What elevates this revenge tale is that this protagonist’s complexity. While his actions are reprehensible as can be, his motives are understandable. He never quite becomes the one man revenge killing machine a la The Bride of Kill Bill or any literally any other protagonist from this sub-genre. He is haunted by events at the beginning of the film, to the point where unlike his sister it has destroyed any opportunity for progression. Portrayed smartly as an unassuming Ordinary Joe, his course of action throughout the film are all the more startling because he is so relatable. The realism of his situation, the bloody moments of gore and violence but more so a more truthful look at consequences makes this film much more than a revenge thriller, more so a cautionary tale of facing violence with violence.

When I use the term revenge thriller, you probably, like I did before I saw the film, think of films such as the Death Wish series, Kill Bill, The Brave One etc. It would be ill-conceived to band this film with the others because the revenge he achieves is unlike that of similar films. The other films are that of a fantasist’s making. There are distinct lines drawn – good and bad, black and white. It’s acceptable for the hero’s of these films to use the violence to assert their justice. Their vigilante violence is celebrated because they are employing it for the side of good.  The ultimate  and often most violent act of revenge is usually saved for the climax of  the film, to which the protagonist’s thirst for revenge has been well and truly quenched. No reprisals needed (unless there are more bad guys to dispense of in sequels). As I said a fantasist’s dream. Blue Ruin undoes all that. The film’s protagonist is not a hero, rather an antihero who’s moment of retribution, which occurs early in the film, is swiftly dulled by the ensnaring consequences that follow. In essence, the film’s central story begins when other vigilante films end and to me that what makes it most interesting.

While the central reason for the escalating violence and body count and the insertion of a red herring for its protagonist, which I will not spoil here (because that’s just rude) is a little run of the mill, the filmmakers do well to work it into the story in such a way that it’s not too contrived. I felt it a little unnecessary to the story because what interested me more was Dwight’s emotional journey as he attempts navigate an increasingly desperate situation. At times cunning, at other times completely inept, he is always tired.  Haunted and tired at the ongoing nightmare that has become his life, the film speaks a truth that I found compelling and refreshing.

Taut is the word to describe the direction of the film. In it’s look, the editing, the script, everything is stripped down. This may have been for monetary purposes but the economising is deftly handled making it stand out from the oft bloated features we’re often presented. The minimalism in the film plays to the intense feeling of dread in the film. Who needs words when you have unsettling silence and flashes of gruesome violence. In a rarity for me, I wasn’t repulsed by the flashes of gore (my threshold has increased since I’ve gotten into Game of Thrones but on the whole, even with the case of GoT, I still often find myself questioning the necessity of gratuitous violence). Mainly because they were few and far between and also because they weren’t exploitative in nature. The moments of violence disgust the people on screen as much as the audience. These acts are never meant to be seen as run of the mill nor as superficial shock tactics as so many films treat violence.

The sparse script was also enlightening. Dwight even acknowledges in one of the two most scripted scenes in the film that he’s not used to talking this much. After speaking all of two complete sentences. Throughout the majority of the film, the audience is reliant on what is shown rather than what is said. I feel that the film benefits from this. Words appear meaningless to the protagonist and the world he exists in reflects this. It is something the audience respects, maybe a brotherly companion to mumble core, Blue Ruin presents a new kind of neo-realism in Independent American cinema.

Much of the acting is meticulous and apart from a recognisable one or two faces (Devin Ratray of Home Alone fame elevating his time as Kevin McCallister’s  older brother to another more unsettling but thoroughly enjoyable level), much of the cast were unrecognisable to me, which made their performances all the more impressive, such was the assured acting throughout. A few peripheral characters did the side down with some scenery chewing and reliance on some stereotyping which was disappointing to to see when it seemed deliberate effort had been made to side step such trappings. But their presence in the film was momentary, (in a slightly disappointing predictable ending) it didn’t diminish the overall strength of the performances and story that had come before. Special mention must go to Macon Blair as Dwight, who expansive emotional range with just his eyes is a pretty impressive thing to behold. It  would certainly give Meryl Streep a run for her money.

Directed by Jeremy Saulnier who previously credits as cinematographer for other American indies such as Putty Hill and See Girl Run, it’s obvious that not only does he have an eye for light, detail and atmosphere as so evident in Blue Ruin, he also has impressive potential as a director. Please go see this.

Showing on limited release at various cinemas across the country.