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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“When Bay keeps these absurd plot-gears spinning, he’s displaying his skill as a slick, professional entertainer. But then there are the images of motion—I hesitate to say, of things in motion, because it’s not clear how many things there are in the movie, instead of mere digital simulations of things. It doesn’t matter. What matters is that there’s a car chase through London, seen from the level of tires, that could have gone on for an hour, um, tirelessly. What matters is that the defenestrated Cade saves himself by leaping from drone to drone in midair like a frog skipping among lotus pads; that he and Vivian slide along the colossal, polished expanses of sharply tilting age-old fields of metal like luge Olympians. What matters is that, when this heroic duo find themselves thrust out into the void of inner space from a collapsing planet, it has a terrifyingly vast emptiness that Bay doesn’t dare hold for more than an instant lest he become the nightmare-master. What matters is that the enormous thing hurtling toward Earth is composed in a fanatical detail that would repay slow-motion viewing with near-geological patience. Bay has an authentic sense of the gigantic; beside the playful enormity of his Transformerized universe, the ostensibly heroic dimensions of Ridley Scott’s and Christopher Nolan’s massive visions seem like petulant vanities.”
~ Michael Bay Gives Richard Brody A Tingle

How do you see film evolving in this age of Netflix?

I thought the swing would be quicker and more violent. There have been two landmark moments in the history of French film. First in 1946, with the creation of the CNC under the aegis of Malraux. He saved French cinema by establishing the advance on receipts and support fund mechanisms. We’re all children of this political invention. Americans think that the State gives money to French films, but they’re wrong. Through this system, films fund themselves!

The other great turning point came by the hand of Jack Lang in the 1980s, after the creation of Canal+. While television was getting ready to become the nemesis of film, he created the decoder, and a specific broadcasting space between film and television, using new investments for film. That once again saved French film.

These political decisions are important. We’re once again facing big change. If our political masters don’t take control of the situation and new stakeholders like Netflix, Google and Amazon, we’re headed for disaster. We need to create obligations for Internet service providers. They can’t always be against film. They used to allow piracy, but now that they’ve become producers themselves, they’re starting to see things in a different light. This is a moment of transition, a strong political act needs to be put forward. And it can’t just be at national level, it has to happen at European level.

Filmmaker Cédric Klapisch