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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Dear Irene Cho, I will miss your energy and passion; your optimism and joy; your kindness towards friends, colleagues, strangers, struggling filmmakers, or anyone who randomly crossed your path and needed a hand. My brothers and I have long considered you another sibling in our family. Our holiday photos – both western and eastern – have you among all the cousins, in-laws, and kids… in the snow, sun, opening presents, at large dinner gatherings, playing Monopoly, breaking out pomegranate seeds and teaching us all how to dance Gangnam style. Your friendship and loyalty meant a great deal to me: you were the loudest cheerleader when I experienced victories and you were always ready with sushi when I had disappointments. You had endless crazy ideas which always seemed impossible but you would will them into existence. (Like that time you called me and suggested that we host a brunch for newly elected mayor of LA, Eric Garcetti because “he is going to president one day.” We didn’t have enough time or funding, of course, only your desire to do it. So you did, and I followed.) You created The Daily Buzz from nothing and it survived on your steam in spite of many setbacks because you believed in a platform for emerging filmmakers from all nations. Most of all, you were a wonderful mother to your son, Ethan, a devoted wife to your husband, and a wonderful sibling and daughter to your family. We will all miss how your wonderful smile and energy lit up the room and our lives. Rest in peace, Irene.
~ Rose Kuo Remembers Irene Cho on Facebook

“You know, I was never a critic. I never considered myself as a film critic. I started doing short films, writing screenplays and then for awhile, for a few years I wrote some film theory, including some film criticism because I had to, but I was never… I never had the desire to be a film critic. I never envisioned myself as a film critic, but I did that at a period of my life when I thought I kind of needed to understand things about cinema, understand things about film theory, understand the world map of cinema, and writing about movies gave me that, and also the opportunity to meet filmmakers I admired.

“To me, it was the best possible film school. The way it changed my perspective I suppose is that I believe in this connection between theory and practice. I think that you also make movies with ideas and you need to have ideas about filmmaking to achieve whatever you’re trying to achieve through your movies, but then I started making features in 1986 — a while ago — and I left all that behind.

“For the last three decades I’ve been making movies, I’ve been living, I’ve been observing the world. You become a different person, so basically my perspective on the world in general is very different and I hope that with every movie I make a step forward. I kind of hope I’m a better person, and hopefully a better filmmaker and hopefully try to… It’s very hard for me to go back to a different time when I would have different values in my relationship to filmmaking. I had a stiffer notion of cinema.”
~ Olivier Assayas