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By Jake Howell jake.howell@utoronto.ca

The Torontonian Reviews BLUE RUIN

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“Did you just come out of Blue Ruin?” asked a breathless Toronto film programmer one day back in May. “No? What a really tight revenge thriller.”

He looked overwhelmed by what he had just seen.

Written, directed, and shot by Jeremy Saulnier (2007’s Murder Party), and on a successful Kickstarter budget to boot, the film is about as independent as they come. Fortunately, the quality of the end result transcends any stigmas or misgivings you may have about low-to-no-budget independent film, thanks to Saunter’s impressive triple-threat efforts.

As much as I love Quentin Tarantino—likely the authority of contemporary revenge films—some audiences may have found 2012’s Django Unchained bloated, with scenes that stretched long and indulgences that had a smaller payoff than we’d want.

Blue Ruin, on the other hand, clocks in at a crisp 92 minutes and is gripping for nearly all of them.

It’s unclear if knowing as little as possible is the ideal approach to experience Blue Ruin, but hearing it described as a “really tight revenge thriller” was plenty to pique my interest. Nevertheless: lusting for revenge, the vagrant Dwight (Macon Blair, Hellbenders) learns that a bad man has been released from prison. With only a dilapidated blue Pontiac and the last vestiges of his humanity, Dwight hits the road to close a chapter of his history.

There’s plenty more narrative for Saulnier to keep us guessing, but the set-up and ensuing narrative kinks are believable and devoid of contrivances. More importantly, Blue Ruin comes bearing zero frills attached: the action is streamlined and exciting, the comic relief is perfectly timed, and the lead-foot pace maintains its acceleration before peaking at a bloody climax. Think lean and mean—then add some laughs and surprises for good measure. There’s also a glimpse of commentary on U.S. gun culture, but it isn’t too heavy to outright hijack the film’s primary thrills. This is first and foremost a great story, and one that is told well.

Given how much solo screentime his character has, Macon Blair’s Dwight is especially taciturn, and the film becomes a character study via the facial expressions of a desperate man. The dialogue that Dwight does have, however, is delivered with the requisite depression you’d expect from the character, and the result is a sadness that earns our sympathy (and our winces, when things get gory). Blair, who also helped produced the film, should be commended for carrying such a physical role.

I must also praise Saulnier’s gorgeous cinematography—a directorial achievement in and of itself—but there’s a sequence with Dwight driving along a misty stretch of forest highway that has been embedded in my memory for quite some time now. The images are captured high up and far behind Dwight’s Pontiac from what must have been a camera mounted to a bus, and we get the feeling that he is driving into the unknown with palpable purpose. It’s a masterful shot, and it’s just one example of balanced and visually striking use of color, from the indelible blood stains on Dwight’s white shirt to the Pontiac’s blue tint whizzing past forest greens.

It should be enough to say that Blue Ruin is a top-notch vengeance thriller from start to finish, but its artistic merit is just as striking as its violence. When it was posted last year, Saulnier’s Kickstarter pitch assured the project was “a revenge film equally suited for art house cinephiles and die-hard genre fans,” and I can do nothing but agree with the highest of recommendations. The film now sits comfortably amongst my still-forming top-ten list of this year, but it’s not likely to be ousted by the end of December.

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One Response to “The Torontonian Reviews BLUE RUIN”

  1. Ron Bliss says:

    Being a Marne veteran, kick ass revenge can be enormously gratifying. I await this films release in our Concord, NC
    neck of the woods.

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“The evening’s curious vanity and irrelevance stay with me, if only because those qualities characterize so many of Hollywood’s best intentions. Social problems present themselves to many of these people in terms of a scenario, in which, once certain key scenes are licked (the confrontation on the courthouse steps, the revelation that the opposition leader has an anti-Semitic past, the presentation of the bill of participants to the President, a Henry Fonda cameo), the plot will proceed inexorably to an upbeat fade. Marlon Brando does not, in a well-plotted motion picture, picket San Quentin in vain: what we are talking about here is faith in a dramatic convention. Things “happen” in motion pictures. There is always a resolution, always a strong cause-effect dramatic line, and to perceive the world in those terms is to assume an ending for every social scenario… If the poor people march on Washington and camp out, there to receive bundles of clothes gathered on the Fox lot by Barbra Streisand, then some good must come of it (the script here has a great many dramatic staples, not the least of them in a sentimental notion of Washington as an open forum, cf. Mr. Deeds Goes to Washington), and doubts have no place in the story.”
~ Joan Didion On Hw’d In 1970

CAMPION: We were driving around the countryside the other day, and we happened to chance upon a lone bull and cow going through some sex rituals. I was so surprised to see how lengthy the whole process was for this bull. He started licking the cow’s shin and worked his way quite laboriously up toward her ass. And every now and again, you thought, “Maybe she’s ready now—he’ll try a quick move.”
TAYLOR-JOHNSON: She wasn’t ready.
CAMPION: She made it clear that that wasn’t the case. We couldn’t even wait; it was like 15 minutes, but it was really adorable. Even when we came back, they were still at it. The foreplay was phenomenal.
TAYLOR-JOHNSON: You don’t think of animal love in that way.
~ Jane Campion And Sam Taylor-Johnson in Interview

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