Peter Sarsgaard Archives

Review: ‘The Guilty’ (2021), starring Jake Gyllenhaal

March 3, 2022

by Carla Hay

Jake Gyllenhaal in “The Guilty” (Photo courtesy of Netflix)

“The Guilty” (2021)

Directed by Antoine Fuqua

Culture Representation: Taking place primarily in Los Angeles, the dramatic film “The Guilty” features a predominantly white cast of characters (with a few African Americans, Asians and Latinos) representing the middle-class.

Culture Clash: A police officer, who has been demoted to 911 operator duties, gets a harrowing phone call from a woman who says she’s in a vehicle and she’s been kidnapped, and the police officer breaks protocol to try to help her.

Culture Audience: “The Guilty” will appeal primarily to people interested in thrillers that have many twists and turns, with some plot developments more believable than others.

Jake Gyllenhaal in “The Guilty” (Photo by Glen Wilson/Netflix)

Gripping and tension-filled, “The Guilty” succeeds in creating a suspenseful story with good acting, even though some parts of the movie are hard to believe and seem too contrived. Unfolding in “real time,” it’s a story about an intense two-hour period in the life of a police officer while he’s on 911 emergency call operator duties. During the course of the story, he frantically tries to save an adult female caller who claims that her ex-husband has kidnapped her in a vehicle. “The Guilty” had its world premiere at the 2021 Toronto International Film Festival.

Directed by Antoine Fuqua and written by Nic Pizzolatto, “The Guilty” is a remake of the 2018 Danish film “The Guilty” (“Den Skyldige”), which was co-written and directed by Gustav Möller as Möller’s feature-film debut. By most accounts and critics’ reviews, the original Danish movie is better than the American version. However, the American version of “The Guilty” is still a satisfying thriller for anyone who can tolerate a movie where most of it is centered on a not-very-likable protagonist working as an emergency phone operator in a call center.

The American version of “The Guilty” adheres very close to the original story in the Danish version on “The Guilty.” There are some questionable things in the American version that might be more acceptable or overlooked in Denmark because of different laws and policies when it comes to emergency call operators and what cops can and cannot do while on duty. The American movie was filmed during the COVID-19 pandemic before a COVID-19 vaccine existed. Because almost the entire setting of the movie is a call center and consists of phone conversations, it turns out those were ideal conditions to film during a pre-vaccine COVID-19 pandemic.

In the American version of “The Guilty,” Joe Baylor (played by Jake Gyllenhaal) is a Los Angeles police officer who’s under a great deal of stress. Joe has been assigned 911 call operator duties because he’s been temporarily demoted. And he’s not happy about it. The reason for Joe’s demotion is revealed toward the end of the film. Joe has asthma and uses an inhaler. Not surprisingly, his asthmatic condition is aggravated by all the stress he goes through during the course of the story.

Even without this demotion, it’s obvious from the beginning of the film that Joe is someone with a short temper. When he gets a call from a bicycle rider who injured himself in an accident and has called 911 to request an ambulance, Joe scolds the injured person and tells him not to ride a bike when he’s drunk. And then Joe hangs up. Joe has no proof that the caller is intoxicated. His lack of empathy and the way he jumps to conclusions with anger are indications that he’s a “loose cannon.”

Adding to the stress level at the call center, a wildfire is raging in Los Angeles County, so there’s a shortage of emergency workers who can respond to calls that aren’t related to the fire. The 911 call center has TV monitors tuned into the local news to keep track of the wildfire situation. This wildfire is a plot development that was added to the American version of “The Guilty.”

Joe gets some other calls in the beginning of the movie that show how he’s ill-tempered and impatient with callers. When Joe talks to a male caller who’s having a panic attack, and the caller admits that he’s high on meth, Joe says he’ll send an ambulance as well as police to arrest him. The caller quickly hangs up.

Joe takes another call about a computer stolen from a rental car. He quickly determines that the caller whose computer was stolen was involved in a sex worker transaction that went wrong. Joe concludes that the sex worker probably stole the computer, so Joe is unsympathetic to the theft victim. Throughout the movie, viewers see that Joe cannot be an impartial phone operator and he acts like an investigative cop who reaches his own conclusions when he might not know all the facts.

The first big clue that Joe is involved in a high-profile matter is the movie’s opening scene, when he gets a call on his cell phone from a female Los Angeles Times reporter, who wants to interview him. Joe abruptly tells her that he has no comment, and he hangs up. People who work at call centers generally aren’t allowed to use their cell phones while they’re on duty in the call center, so it’s also the first sign that Joe thinks that the call center’s policies don’t really apply to him.

Joe’s sense of entitlement becomes even more apparent later in the story when Joe goes beyond what a 911 call operator is allowed to do, and he acts like a cop who wants to solve a case and be a hero rescuer. For example, emergency call centers, such as the one depicted in “The Guilty,” usually have a policy of using only the authorized, monitored phones to help a caller. But there’s a scene in the movie when Joe breaks this policy by sneaking off to an empty office room to make secret phone calls that can’t be recorded.

Joe is also standoffish or rude to any of the other 911 operators he interacts with, including a friendly co-worker named Manny (played by Adrian Martinez) and a supervisor named Riva (played by Becky Wu), who seems to just let Joe do what he wants because he’s a cop. The only time that Joe is shown being somewhat nice to his colleagues is when he wants a favor from someone. But even then, it’s only after he finds out that getting angry at them won’t help him get what he wants.

Even though he has a mostly dismissive attitude toward his work colleagues, there is one colleague whom Joe seems to care about: his cop partner Rick (voiced by Eli Goree), whom Joe later describes as his best friend. While Joe is at the call center, he calls his police supervisor Sgt. Bill Miller (voiced by Ethan Hawke) to ask how Rick is doing. What’s wrong with Rick that has gotten Joe so concerned about Rick’s well-being? That answer is also revealed toward the end of the movie.

It’s eventually shown that things aren’t going so well for Joe in his personal life. He’s been separated from his wife Jess (voiced by Gillian Zinser) for the past six months, and he doesn’t get to see their young daughter as often as he would like. Joe seems to want to get back together with Jess, but she’s very reluctant and seems to be fed up with him. During a phone call, Jess tells Joe that she won’t be there for his upcoming court appearance that’s happening the next morning.

Joe’s personal problems temporarily take a back seat when he becomes consumed with the kidnapping call. The female caller identifies herself as Emily Lighton (voiced by Riley Keough), and she says she’s been abducted by her ex-husband, who’s driving the two of them in a white van. Through some quick detective work of looking up the cell phone number that Emily is using, Joe finds out that the ex-husband is named Henry Fisher (voiced by Peter Sarsgaard), and Henry has a criminal record.

There’s an additional urgency to this phone call because Emily and Henry have two underage children who are home alone: a 6-year-old daughter named Abby (voiced by Christiana Montoya) and an infant son named Oliver. The biggest problem in locating Emily is that she doesn’t know the license plate number of the van, and she doesn’t know exactly where she is on the road because she says she can’t look out of any of the van’s windows. The rest of the movie is about Joe’s race-against-time in his efforts to save Emily. There are some twists and turns (some more shocking than others) that happen along the way.

“The Guilty” requires some suspension of disbelief when showing Joe as the only person who seems to care the most about finding this alleged kidnapping victim. However, the movie’s plot addition of the wildfire happening at the same time does make it plausible that emergency responders have to give priority to the fire at that time. There are some parts of the movie where Joe steps way over the line of police ethics when he plays judge and jury in his reactions. But when more details about Joe’s personal problems are revealed, it’s actually consistent with his personality and past actions that he acts this way.

Gyllenhaal is the only actor seen on screen for most of the film, so his compelling performance is effective in depicting this anxiety-ridden situation. The voice actors in the cast also perform capably in their roles. The last 15 minutes of the movie cram in a lot of melodrama that might have some viewers rolling their eyes in disbelief. However, stranger things and more melodramatic things have happened in real life, so the movie isn’t completely far-fetched.

After it’s revealed why Joe is going to court, a few questions remain unanswered at the end of the movie, such as: “How or why was Joe allowed to work in law enforcement in this capacity, considering what he’s being accused of in court? And what kind of attorney (it’s presumed that Joe has an attorney) would allow a client to work in this high-stress environment the day before an important court appearance?”

There are some believable explanations, of course. Maybe the police department didn’t want to suspend Joe, for whatever reason, and demoted him instead. And maybe Joe is the type of stubborn person who wouldn’t take an attorney’s advice and thinks he could handle working in a stressful job the day before his court appearance.

As for how realistically “The Guilty” depicts 911 call centers and 911 phone operators, the podcast Real Crime Profile interviewed two real-life former 911 phone operators to get their perspectives of the American version of “The Guilty.” (Spoiler alert: This podcast episode discusses everything that happens in the movie.) These former 911 operators say that “The Guilty” is mostly accurate.

Fuqua (whose directorial credits include “Training Day” and “The Equalizer” movies) and Pizzolatto (the Emmy-nominated creator of HBO’s “True Detective” series) are very familiar with telling stories about law enforcement officers who operate outside the law to solve a case or to get what the cops want. “The Guilty” tells an intriguing story, but some viewers might be bored that most of the movie takes place in one location, and the on-camera action mostly centers on a series of phone calls. People who can appreciate “The Guilty” the most are those who use their imagination, because a lot of the terror is what’s not seen on screen.

Netflix released “The Guilty” in select U.S. cinemas on September 24, 2021. The movie premiered on Netflix on October 1, 2021.

Review: ‘The Batman,’ starring Robert Pattinson, Zoë Kravitz, Paul Dano, Jeffrey Wright, Andy Serkis, Colin Farrell and John Turturro

February 28, 2022

by Carla Hay

“The Batman”

Directed by Matt Reeves

Culture Representation: Taking place in the fictional U.S. city of Gotham City, the superhero action flick “The Batman” features a predominantly white cast of characters (with some African Americans and Latinos) representing the working-class, middle-class and wealthy.

Culture Clash: Vigilante superhero Batman—the secret alter ego of orphaned billionaire Bruce Wayne—battles several villains (some more obvious than others) in a race against time to stop psychopath The Riddler, who is intent on destroying Gotham City.

Culture Audience: “The Batman” will appeal primarily to people who are interested in superhero movies with a dark and brooding tone that’s similar to director Christopher Nolan’s “Batman/The Dark Knight” movies.

Robert Pattinson in “The Batman” (Photo by Jonathan Olley/DC Comics/Warner Bros. Pictures)

Richly layered in dark intrigue and life’s shades of gray, “The Batman” takes viewers deeper into Batman/Bruce Wayne’s mind than previous “Batman” films have ever ventured. This top-notch superhero film makes pointed social commentaries about greed, corruption and responsibilities of the wealthy, in addition to delivering plenty of stunning action sequences. The movie’s total running of time of 175 minutes doesn’t make the movie feel too bloated, although at times the filmmakers’ ambitions to make “The Batman” an epic superhero film seem forced into the story a little too much, in order to justify this nearly three-hour movie.

Directed by Matt Reeves, “The Batman” is not an origin story, such as director Christopher Nolan’s 2005 movie “Batman Begins,” which was the first in Nolan’s Batman movie trilogy that continued with 2008’s “The Dark Knight” and 2012’s “The Dark Knight Rises.” Reeves co-wrote “The Batman” screenplay with Peter Craig, with the movie based on DC Comics characters created by Bob Kane and Bill Finger.

In the beginning of “The Batman,” billionaire Bruce Wayne (played by Robert Pattinson), whose secret alter ego is vigilante superhero Batman, has been fighting crime as this caped crusader for two years, mostly at night. And it’s drained his finances to the point where his trusted butler Alfred Pennyworth (played by Andy Serkis) warns Bruce that if Bruce keeps doing what he’s doing as Batman, he’ll have no more money left, and that Bruce is doing a disservice to his family’s legacy. “Alfred, stop,” Bruce says with impatience at Alfred’s worrying lecture. “You’re not my father.” Alfred replies grimly with a hint of sadness, “I’m well aware.”

As Batman fans already know, Bruce lives in the fictional U.S. city of Gotham City (also known as Gotham), which is designed to look a lot like New York City. (“The Batman” was actually filmed in the United Kingdom and Chicago.) In the movie version of the Batman saga, Bruce’s parents—billionaire philanthropists Thomas Wayne and Martha Wayne—were gunned down in front of him by an unidentified man when Bruce was 8 years old. The killer has not been caught, and his parents’ murders have haunted Bruce ever since. Thomas (played by Luke Roberts) and Martha (played by Stella Stocker) are seen in brief flashbacks in “The Batman.”

The murders of Bruce’s parents motivated Bruce to become a secret crimefighter as an adult. Finding out who killed his parents is never far from Bruce’s mind. He’s been investigating with the help of Alfred. However, Batman’s other crimefighting duties often get in the way of this investigation. In addition to being a philanthropist, Thomas Wayne was a medical doctor and a politician. He was a mayoral candidate for Gotham when he and his wife were murdered.

Bruce has no superpowers, but his wealth has allowed him to have highly sophisticated and top-level resources, weapons and equipment, including his famous Batsuit and Batmobile. In “The Batman,” Bruce also has special contact lenses, which act as hidden cameras. Gotham police summon Batman for his help, by sending out a lighted signal of distress called the Bat-Signal, which is the Batman logo that can be seen in the sky.

Out of all of the movie incarnations of Batman, “The Batman” has a tone that most closely adheres to Nolan’s “Batman/Dark Knight” trilogy, with some noticeable differences. Compared to all previous “Batman” movies, “The Batman” is much more immersive in the psychology of Bruce Wayne/Batman—so much so, that viewers can hear Bruce’s/Batman’s inner thoughts in voiceovers throughout the movie. It’s a filmmaker choice that might annoy some viewers, but in the context of “The Batman,” it works very well.

The movie’s opening scene takes viewers right into Bruce’s/Batman’s state of mind, as heard in a voiceover that says: “Two years of nights have turned me into a nocturnal animal. I must choose my targets carefully. It’s a big city. They don’t know where I am. The signal that lights up the sky is not just a call. It’s a warning to them. Fear is a tool. They think I’m lying in the shadows, but I am the shadows.”

This version of Batman has a type of inner turmoil and rage that hasn’t been seen in previous “Batman” movies. Batman famously has a personal policy to not kill people unless it’s justifiable self-defense. But in “The Batman,” this caped superhero unleashes some vicious beatings that go beyond what would be necessary to defeat an opponent. There’s a scene in the movie where Batman has to be physically stopped by law enforcement during one of these near-fatal assaults. It’s one of the reasons why Batman is feared and mistrusted by certain people who think he’s an out-of-control vigilante.

Previous “Batman” movies also made it very clear who the heroes and villains are. “The Batman” effectively blurs those lines, as secrets are revealed about several characters’ backgrounds. However, there’s no question that the chief villain of “The Batman” is a mysterious psychopath named The Riddler (played by Paul Dano), whose real name is Edward Nashton. “The Batman” reveals only a few other things about The Riddler’s personal background, since he operates and is seen mostly in the shadows.

However, there’s no doubt about The Riddler’s motives. He leaves notes and clues around Gotham to announce that his murder victims are being targeted because they are corrupt leaders who have betrayed the citizens of Gotham and beyond. The first murder is shown early on in the movie, which opens on Halloween night in Gotham.

This murder takes place 20 years (to the week) after the murders of Thomas and Martha Wayne. The target of this Halloween-night murder is “tough on crime” Mayor Don Mitchell Jr. (played by Rupert Penry-Jones), who is brutally tied up and assaulted in his own home, as he is watching himself in a pre-recorded televised candidate debate for Gotham’s next mayoral election. The incumbent mayor is home alone because his wife (played by Kosha Engler) and son (played by Archie Barnes), who do not have names in the movie, are somewhere else celebrating Halloween.

Is The Riddler acting alone, or does he have any cronies? One of the best aspects of “The Batman” is that the movie plays guessing games about where loyalties lie and whom Batman/Bruce can really trust. Bruce also finds out certain things that make him question his own motives and ethics, as well as how well he thought he knew his parents before they died. Throughout the movie, Bruce/Batman is a trusted ally of James Gordon (played by Jeffrey Wright), a lieutenant of the Gotham City Police Department, who includes Batman in the investigations and at each scene of The Riddler’s crimes.

In previous “Batman” movies, Bruce was an obvious playboy. In “The Batman,” Bruce is still a brooding eligible bachelor, but he isn’t dating anyone. However, when he meets Selina Kyle (played by Zoë Kravitz), also known as Catwoman, there’s a mutual attraction between them that sparks a little bit of romance. (They kiss each other in the movie.) Selina works as a bar server at warehouse-styled nightspot called the Iceberg Lounge, owned by shady and slippery business mogul Oswald “Oz” Cobblepot (played by Colin Farrell), also known as The Penguin.

Selina is an emotionally damaged soul whose Catwoman alter ego is a skilled and clever thief. Selina also “collects” stray cats and takes care of several of these cats in her home. In “The Batman,” Selina and Bruce cross paths because she’s investigating the disappearance of her Russian immigrant roommate Annika Kosolov (played by Hana Hrzic), whom Selina thinks has been kidnapped because Annika knew too much about a powerful man whom Annika was dating. The reasons for Annika’s disappearance (and how they all connect to a larger story) are eventually revealed in “The Batman.”

Even though Selina describes Annika to people as her “friend,” the movie hints that Annika was also Selina’s lover. Before Annika disappeared, Selina is shown comforting a distressed and fearful Annika in their apartment. Annika won’t tell Selina what’s wrong, and Selina keeps calling her “baby” and touching Annika in the way that someone would touch a lover. The movie leaves Selina’s sexuality open to interpretation because it seems the intention is that Selina is the type of person who doesn’t want to put a label on her own sexuality. Whatever the nature of Selina’s relationship is with Annika, it’s a departure from previous movie/TV characterizations of Selina, who is usually depicted as a social outcast who lives alone.

The potential romance between Batman and Catwoman is fraught with trust issues and the taboo of Batman dating someone he knows breaks the law. However, their emotional connection is powerful. Bruce and Selina both know the pain of growing up without parents and having a parent murdered. Selina’s single mother Maria (who is not seen in the movie) was strangled when Selina was 7 years old. Bruce and Selina also have the shared characteristic of having secret identities that are often misunderstood to the point where certain people don’t know if Batman and Catwoman are heroes or villains.

During the course of the movie, these other characters come into the orbit of Bruce/Batman: Carmine Falcone (played by John Turturro), a ruthless mob boss who has The Penguin as his “right-hand man”; Gil Colson (played by Peter Sarsgaard), Gotham’s district attorney who’s at the center of one of the most suspenseful scenes in the movie; Pete Savage (played by Alex Ferns), the Gotham City Police Department commissioner who doesn’t trust Batman as much as Lieutenant Gordon does; Gotham City Police Department chief Mackenzie Bock (played by Con O’Neill), who also has mistrust of Batman; and Bella Reál (played by Jayme Lawson), the young and progressive mayoral candidate who was Don Mitchell Jr.’s opponent in the mayoral race, and she is elected mayor after his death.

During all of this murder and mayhem in Gotham, Bruce finds out that he’s the target of The Riddler because The Riddler thinks that Bruce is corrupt too. Does The Riddler knows Batman’s real identity? The answer to that question is shown in the movie. There’s also some intrigue around the Wayne Foundation Renewal Fund, a charitable venture launched by Bruce’s father and is worth millions.

And in “The Batman,” the Iceberg Lounge has a “club within a club” that’s exactly what you might think it is for a nightclub that attracts a lot of powerful figures involved in criminal activities. The movie has several references to an opioid-like liquid drug called “drops,” because people take the drug through eyedrops, and addicts are called “dropheads.” Years before this story takes place, a crime lord named Salvatore Morrone (who’s never seen in the movie) was a major dealer of drops, and he got busted while Don Mitchell Jr. was mayor of Gotham. This drug bust has had long-lasting repercussions.

“The Batman” offers some biting views on how rich people throwing money at society’s problems doesn’t necessarily erase those problems if systemic inequalities still remain. Catwoman shows she has a side to her that’s about disrupting or challenging society’s institutions that are constructed to keep corrupt, privileged people in power. She’s not really an activist, but more like a social anarchist. And, for the first time in a “Batman” movie, Bruce is really taken to task by certain people for being perceived as a spoiled, wealthy heir who hasn’t really done much to help underprivileged people.

It’s not really “social justice preaching,” but it somewhat shocks Bruce to see that people seem to resent that he appears to have an “ivory tower” mindset while people are suffering around him. And to be fair, this Bruce is such a depressed recluse in “The Batman,” he’s not exactly hobnobbing at charity events as much as Bruce did in previous “Batman” movies. Alfred has to practically beg Bruce to go to a high-society fundraiser, so that Wayne Family charities can continue to operate.

As well-written as “The Batman” screenplay is, it’s hard to go wrong with such a talented group of cast members, who embody their roles as if they were born to play these characters. Pattinson has already demonstrated in plenty of his independent films that he’s got the gravitas and empathy to personify the dual roles of Batman and Bruce Wayne. Kravitz is all kinetic grace and seductive street smarts as Selina Kyle.

Farrell (who’s unrecognizable underneath exceptional prosthetic makeup) does one of the best supporting-role performances of his career as The Penguin, a menacing and sarcastic thug who isn’t in the movie as much as “The Batman” movie trailers would suggest, but he still makes an undeniable impact. Dano is chilling and unnerving as The Riddler, who’s a combination of a calculating mastermind and a loose cannon. This is not a fun-loving, impish and giggling Riddler, as seen in other “Batman” movies or TV shows. This Riddler is genuinely an infuriated and deeply disturbed villain. The cast members in the other supporting roles do their jobs well in characters that are less complex.

In the 2010s, “The Batman” director Reeves helmed two stellar “Planet of the Apes” movies: 2014’s “Dawn of the Planet of the Apes” and 2017’s “War for the Planet of the Apes.” With the “The Batman,” Reeves raises the bar considerably for all other “Batman” films to come. “The Batman” excels in numerous areas of filmmaking to make this superhero movie true visual art. The captivating cinematography (by Greig Fraser) is bathed in hues of black, dark gold and crimson red to bring viewers into a very specific and fascinating world. In addition to the cinematography, the movie’s costume design (led by Jacqueline Durran), production design (led by James Chinlund), musical score (by Michael Giacchino), makeup, sound, visual effects and stunts are all worthy of awards attention.

The musical choices in “The Batman” are particularly effective. For example, Batman’s theme in this movie, which is a nod to composer John Williams’ Darth Vader theme in 1977’s “Star Wars,” is quite possibly the most memorable Batman movie theme to come along in years. It’s a stirring musical signature that evokes the despair and determination that weigh heavily on Batman/Bruce Wayne’s soul. The musical interludes in “The Batman” also include Nirvana’s melancholy song “Something in the Way,” which is woven into the story in such a distinctive manner, viewers will get this song stuck in their heads long after seeing this movie.

But one of the ways that “The Batman” truly stands out from other superhero movies is that it doesn’t necessarily follow the predictable formula of all the villains defeated at the very end. (And “The Batman” has are no mid-credits scenes or end-credits scenes.) The movie takes on some heavy issues, including how society places a stigma on mental illness, and how this stigma has serious repercussions on people’s lives.

“The Batman” also has a few twists and turns that might surprise audiences. (For example, people will be talking about Barry Keoghan’s cameo as a “mystery character” near the end of the movie.) Most of all, “The Batman” accomplishes what many other superhero films don’t: The movie shows the vulnerabilities of a troubled superhero protagonist, who doesn’t have bunch of superhero friends to back him up, and who is at war with himself as much as he is at war against crime.

Warner Bros. Pictures will release “The Batman” on March 4, 2022, with official sneak-preview screenings on March 1 and March 2, 2022. The movie is set to premiere on HBO Max and will be released on digital and VOD on April 18, 2022. HBO will premiere “The Batman” on April 23, 2022. “The Batman” will be released on 4K, Blu-ray and DVD on May 24, 2022.

Review: ‘The Lost Daughter,’ starring Olivia Colman, Dakota Johnson and Jessie Buckley

December 19, 2021

by Carla Hay

Dakota Johnson and Olivia Colman in “The Lost Daughter” (Photo by Yannis Drakoulidis/Netflix)

“The Lost Daughter” (2021)

Directed by Maggie Gyllenhaal

Culture Representation: Taking place in Greece, England and Italy, the dramatic film “The Lost Daughter” features an all-white cast of characters representing the working-class, middle-class and wealthy.

Culture Clash: A British woman, who works as a comparative Italian literature professor, goes on vacation in Greece, where she has flashbacks of her troubled background as a young mother, after she encounters a young mother from a boisterous Italian American family who are staying in the same vacation villa spot.

Culture Audience: “The Lost Daughter” will appeal primarily to fans of star Olivia Colman and expertly acted psychological dramas.

Jessie Buckley (center) in “The Lost Daughter” (Photo by Yannis Drakoulidis/Netflix)

“The Lost Daughter” upends the stereotype that mothers depicted in movies are supposed to think that parenthood is the greatest thing that ever happened to them. Much of the discontent in the movie has to do with doubts and insecurities that mothers have when they find out that motherhood doesn’t make them as happy as they were taught to believe it would. The movie might start off looking like a mystery thriller, but it’s really a psychological drama that takes viewers inside the restless and uneasy mind of woman during a tension-filled vacation and how she affects other people around her. Olivia Colman anchors the movie with a memorable and intriguing performance.

“The Lost Daughter” is the feature-film directorial debut of Maggie Gyllenhaal, who wrote the adapted screenplay, which is based on Elena Ferrante’s 2006 novel of the same name. It’s a fairly faithful adaptation of the book, but the movie changes the nationalities of the main characters and the coastal vacation setting from Italy to Greece. “The Lost Daughter” benefits from cinematic elements (such as production design and music) that very much enhance the mood and emotions conveyed in the story. Just like in the book, the movie centers on a vacation that is fraught with some psychological torment and guilt over motherhood issues.

In “The Lost Daughter,” Colman portrays Leda Caruso, a 48-year-old university professor of comparative Italian literature. Leda is originally from England: She grew up in Leeds and currently lives in Cambridge. Leda is on vacation in Greece, where she is renting a villa during this trip. (In “The Lost Daughter” book, Leda is an Italian native who is a university professor of English and vacationing in Italy.)

Leda is divorced with two adult daughters: 25-year-old Bianca and 23-year-old Martha, who are not seen in the movie but whose voices can be heard when they talk to Leda on the phone. Ellie James is the voice of the adult Bianca, while Isabelle Della-Porta is the voice of the adult Martha. At different points in the movie, Leda has flashbacks to when her daughters were underage children. In these flashbacks, Jessie Buckley plays young Leda, Robyn Elwell plays Bianca at approximately 7 or 8 years old, and Ellie Mae Blake plays Martha at about 5 or 6 years old.

Leda is looking forward to spending some quiet and relaxing time alone on this vacation. Two of the first people she meets are Lyle (played by Ed Harris), the middle-aged caretaker of the villa where’s staying, and Will (played by Paul Mescal), an Irish college business student who works at the resort during the summer as a lifeguard and general handyman. Lyle and Will are both friendly and accommodating. Lyle mentions that he’s been the villa’s caretaker for the past 30 years.

Leda’s plans for a tranquil holiday become disrupted when her vacation becomes anything but quiet and relaxing. Not long after Leda finds a space on a beach to settle down and get some sun, a large and very loud Italian American family shows up and interrupts Leda’s peace and quiet. There are about 12 to 15 people in this group of raucous newcomers.

Two of them are a married couple named Callie (played by Dagmara Dominczyk) and Vassili (played by Panos Koronis), who ask Leda to move out of her spot on the beach to make room for some people in the group. Leda firmly says no. In response, a young man in the group calls Leda a derogatory and sexist name that rhymes with “punt.” Callie and Vassili walk away, visibly annoyed with Leda.

Needless to say, Leda and this family do not make a good impression on each other. From where Leda sits on the beach, she observes this family. Leda notices a strikingly good-looking couple who’s part of the group: They are Callie’s younger sister Nina (played by Dakota Johnson) and Nina’s husband Toni (played by Oliver Jackson-Cohen), who seem to have a passionate marriage, based on their public displays of affection. Nina and Toni have a daughter with them named Elena (played by Athena Martin Anderson), who’s about 5 years old.

Shortly after the awkward encounter with Leda, Callie approaches Leda again on the beach. This time, it’s to make an apology for the family being so rude. Callie brings a piece of cake as a peace offering, and she asks Leda about herself. Leda doesn’t really seem interested in making friends with anyone on this trip, but she reluctantly answers the questions, such as where she’s from and what she does for a living.

During this conversation, Callie is talkative and friendly. Callie says her family is from New York City, but they have other family members who’ve lived in this part of Greece for “300 years.” She mentions that she’s 42 years old and seven months pregnant with her first child, which the family already knows will be a girl. This talk abut motherhood makes Leda visibly uncomfortable. Leda comments to Callie: “Children are a crushing responsibility.”

During her observation of this family on the beach, Leda notices that Elena shows a strong attachment to a girl doll that Elena carries around. Elena also shows signs of possibly disturbed behavior because she bites the doll in an unusually aggressive manner. The doll and what happens next to Elena end up being the catalyst for most of what triggers Leda’s memories and actions during this trip.

While the family’s adults are partying on the beach, Elena suddenly goes missing. A frantic search ensues that takes a few hours, but Leda ends up finding Elena by herself in a wooded area near the beach. When Leda brings Elena back to her family, Leda is treated like a hero. But deep inside, Leda doesn’t feel like a hero.

That’s because Elena’s disappearance reignites a painful memory of when Leda’s elder daughter Bianca went missing on a beach when Bianca was about the same age as Elena. This memory and other things that happened in Leda’s past are presented as flashbacks in the movie. And that’s when it’s revealed that Leda didn’t really enjoy being a mother very much.

Slowly but surely, viewers find out how Leda was as a mother to two young children; what led to the demise of Leda’s marriage to her husband Joe (played by Jack Farthing); and what happened when a young Leda was accepted into grad school at a university in Italy. Gyllenhaal’s real-life husband Peter Sarsgaard has a supporting role as Professor Hardy, a charismatic professor of an Italian literature class that Leda took when she was in grad school.

Colman gives a compelling performance as Leda, who seems brittle on the outside but has emotional vulnerabilities on the inside. Elena’s doll and what happens to it are symbolic of clinging to youthful memories. As Leda’s memories from the past come flooding back, she also becomes increasingly caught up in what’s going in Nina’s life and the distress that’s caused when Elena’s doll goes missing.

At one point, Will warns Leda that Nina and her family are “bad people.” How dangerous are they? Leda finds out at least one big secret about Nina, who remains somewhat of a mystery throughout the entire movie. Buckley’s portrayal of a young Leda gives a necessary emotional depth to the older Leda, who wants to keep her inner turmoil hidden from the world.

“The Lost Daughter” is best enjoyed by audiences if people know from the beginning that this isn’t a movie filled with big action scenes or with any obvious villains. It’s a searing portrait of how one woman reflects on how she handled motherhood and how her personal encounters with another mother often feels like an eerie and upsetting reminder of the past. The title of the movie refers to a child who goes missing in two separate parts of the story, but the overall emotional arc is how a woman finds parts of herself that she wants to lose or forget.

Netflix released “The Lost Daughter” in select U.S. cinemas on December 17, 2021. The movie premieres on Netflix on December 31, 2021.

Review: ‘The Lie’ (2020), starring Joey King, Peter Sarsgaard and Mireille Enos

October 13, 2020

by Carla Hay

Peter Sarsgaard and Joey King in “The Lie” (Photo by Jasper Savage/Amazon Studios)

“The Lie” (2020)

Directed by Veena Sud

Culture Representation: Taking place in an unnamed U.S. city, the suspenseful drama “The Lie” features a predominantly white cast of characters (with a few Asians) representing the middle-class.

Culture Clash: A divorced couple go to extreme lengths to cover up a crime committed by their troubled teenage daughter.

Culture Audience: “The Lie” will primarily appeal to people who are interested in movies that have very Lifetime TV type of concepts but with higher budgets and a higher caliber of actors.

Mireille Enos and Peter Sarsgaard in “The Lie” (Photo by Jasper Savage/Amazon Studios)

When parents cover up a crime that their child committed, who’s worse? The child or the parents? These are questions that the dramatic thriller “The Lie” wants viewers to think about and possibly change their minds about the answer several times during the course of the movie. Unfortunately, “The Lie” (written and directed by Veena Sud) is so caught up with trying to fool viewers with twists and turns in the story (including an ending that people are going to either love or hate) that the movie could be considered one big lie if viewers are expecting a coherent plot. Above-average acting from the lead actors in the cast can’t quite save this convoluted mess of a movie.

“The Lie” is part of Blumhouse Television’s “Welcome to the Blumhouse” series partnership with Prime Video to showcase horror/thriller movies directed by women and people of color. “The Lie” definitely has a strong female point of view, since two of the three main characters are female: troubled 15-year-old Kayla (played by Joey King) and her mother Rebecca (played by Mireille Enos), a former homicide cop who’s now a corporate executive for an unnamed company. (Sud and Enos used to work together on the crime drama series “The Killing.”)

The other main character in “The Lie” is Kayla’s rock singer/musician father Jay (played by Peter Sarsgaard), who’s been divorced from Rebecca for about five or six years. Jay and Rebecca have moved on to new love partners. Jay is dating his bandmate Trini (played by Dani Kind), while Rebecca’s boyfriend Greg (Alan Van Sprang) is planning to move in with Rebecca and Kayla. Jay doesn’t know it yet though, and Rebecca wants to postpone telling him this big news.

It’s established early on in the movie that Rebecca has primary custody of Kayla because she’s the more reliable parent with the steadier income. The income disparity is obvious, since Rebecca and Kayla live in a spacious, upper-middle-class home, while Jay lives in a cramped apartment. Jay isn’t a complete deadbeat dad, but there’s tension between Jay and Rebecca because he’s been an irresponsible, inattentive parent in the past (a lot of it has to do with him being a musician), so Rebecca often has a hard time trusting him. She also thinks that Jay can be too lenient with Kayla, maybe out of guilt for being a sometimes-absentee father.

Kayla’s relationship with Jay is less resentful than how Rebecca feels about him, but there’s still some tension between Kayla and Jay because Kayla wishes that her father paid more attention to her. Jay is the type of musician who’s still trying to make it big. He’s not completely broke, but he’s not at a level where he has a comfortably steady income. He’s the lead singer of an indie rock band that releases its own music and doesn’t get played on the radio, but is able to make money by playing nightclubs. Viewers of “The Lie” will get the impression that he’s been at this level for his entire career.

On the fateful winter day that the lives of Kayla, Rebecca and Jay change forever, Jay is driving Kayla to a ballet retreat that she doesn’t really want to go to but is being pressured to attend by Rebecca. There’s a lot of ice and snow outside, and when Kayla sees a teenage friend named Britney (played by Devery Jacobs) standing alone at a bus stop, Kayla asks Jay to pull over so they can talk to Britney, who’s going to the same ballet retreat.

Britney (who sometimes goes by the name Brit) says that she’s taking the bus because her father backed out on his promise to drive her to the retreat, so Kayla asks Jay if they can give Britney a ride to the retreat. Britney mentions that she and her divorced father haven’t been getting along lately, and that’s probably why he bailed out of driving her to the retreat. It’s later revealed in the movie that Britney moved to the area with her father Sam about two or three months ago. Britney’s mother abandoned Britney and Sam years ago.

As Kayla and Britney sit in the back of the car and make small talk, Kayla notices that Britney has a bruise on her chin. When she asks Britney about it, Britney avoids answering the question and jokingly tries to make Kayla feel intrusive by calling Kayla a “stalker.” The drive goes by fairly uneventfully on a deserted road near the woods until Britney and Kayla ask Jay to stop the car so they can go in the woods and relieve themselves. Jay obliges their request, but he’s reluctant because it’s cold outside and he’s wary about the two girls being in an isolated wooded area. Jay doesn’t go with them into the woods, out of respect for their teenage privacy.

After a reasonable period of time has passed, the girls still haven’t come back to the car, so Jay goes into the woods to find out what’s going on. To his horror, he sees Kayla, who looks like she’s in a state of shock, on a small bridge overlooking icy and treacherous water. Britney is nowhere in sight. When Jay frantically asks where Britney is, Kayla says that they were “joking around,” and Britney fell off of the bridge into the water.

A few minutes later, after Jay tries desperately to find Britney in the water, Kayla changes her story and makes a darker confession to Jay: She says that she and Britney actually had an argument, and Kayla deliberately pushed Britney off of the bridge. Kayla and Jay decide to stop looking for Britney, who is presumed to be dead. Kayla, who’s asthmatic, also seems to be having an asthma attack, so Jay decides that they’re going to leave the scene of the crime and pretend that they never saw Britney that day.

Kayla is too distressed to go to the ballet retreat, so Jay also decides that he will just take her back home and they will pretend that she was sick and use that as an excuse for why she didn’t show up for the ballet retreat. Jay also decides that he and Kayla will fabricate an alibi for the time that they were on the road, by saying that during that time, she was with Jay at his place before he drove her back to the house where Kayla lives with Rebecca.

While Kayla and Jay are near the parked car, a truck passes by, and Kayla and Jay duck down quickly, so they won’t be seen. It’s a possible problem with their fake alibi if anyone in the truck remembers seeing Jay’s car on the road at that specific time. There are other things that happen later in the story that could unravel and expose the lie.

But before that happens, Kayla and a panicked Jay go to Rebecca’s office. Rebecca is furious to see that Kayla is not at the ballet retreat. But Jay pulls Rebecca aside and tells her that she needs to go back to her house. He will bring Kayla there and explain everything. When Rebecca arrives at the house and finds out what happened, she is shocked, but she has a very different idea on how they should handle the situation.

Rebecca wants to go immediately to the police and report what happened, as well as try to see if a search team can look for Britney. Jay insists that it’s a bad idea because Britney is probably dead already, and he will get in trouble for not going to the police sooner. It’s also why Jay rejects Rebecca’s suggestion that they tell police that it was an accident: If it were an accident, Jay would’ve called 911 for help in trying to rescue Britney from the water.

Jay thinks the best thing to do is to stick to the lie and get a good lawyer for Kayla. After much arguing back and forth, Rebecca agrees to Jay’s idea to tell the lie to cover up for Kayla. They agree to craft an airtight alibi for Kayla and stick to the story no matter what.

And what does Kayla think about what’s going on? At first, she seems to feel guilty about what happened and wants to go to the police. But then, when she sees that her parents have joined forces to protect her, she seems to find comfort in that situation, and Kayla lets her parents handle everything. They coach Kayla on what to say when the police inevitably start questioning Kayla, who seems to be one of Britney’s closest friends.

But the morning after the incident, Kayla is oddly calm and acts like nothing really happened. She exhibits this nonchalant behavior several times throughout the movie. But then other times, she loses control of her emotions, such as she when she has a public meltdown outside the house and her father has to restrain her.

Kayla’s meltdown in the front yard is loud enough for neighbors to see and hear, but there are conveniently no neighbors who report suspicious activity coming from Kayla’s home. And the police certainly don’t find out about it, because the meltdown is written in this movie for melodrama purposes only.

Later in the story, Kayla reveals to her father Jay that she’s been cutting herself. “It helps take away the pain,” Kayla tells Jay, as she shows him the cutting scars on her wrist. “No one likes me at school,” she adds.

Jay seems disturbed by finding out that Kayla is a cutter. And he’s in for more of a shock when he finds out that Kayla has been cutting herself for a few years, and Rebecca has known about it too. Rebecca gives Jay a weary excuse that she tried to get Kayla help for this self-harm problem, but nothing worked.

If it isn’t obvious enough, Kayla is deeply troubled. But is she a sociopath? Is she bipolar? The movie plays guessing games with viewers over what Kayla’s state of mind really is. Her parents know that something is very wrong with her, but they’re more concerned with covering up the crime that she confessed to rather than trying to get her professional help for her mental problems.

Britney’s father Sam (played by Cas Anvar) eventually comes over to Rebecca’s house to see if he can talk to Kayla about where she thinks Britney might be. It isn’t the first time that Britney has disappeared for a few days without telling anyone, so Sam isn’t too worried when he first goes over to the house to talk to Kayla. Rebecca stalls Sam, with the excuse that Kayla has been sick. Rebecca plays the part of a concerned parent by giving Sam her personal cell phone number so that he can contact Rebecca, but it’s really Rebecca’s way of finding out what Sam is going to do about Britney’s disappearance.

Rebecca and Jay do everything possible to prevent Kayla from talking to Sam and other people, by lying and saying that Kayla is too sick to talk to anyone. Rebecca and Kayla also avoid returning Sam’s messages. As Britney’s disappearance stretches into more than 48 hours, Sam gets more frantic and suspicious that Kayla and her parents might be hiding something.

Rebecca and Jay end up doing some despicable and extreme things to throw any suspicion off of Kayla and possibly put the blame on someone else. Rebecca gets in touch with Detective Kenji Takada (played by Patti Kim), a former colleague at the police department, and manipulates her into thinking that someone else could be involved with Britney’s disappearance. Kenji just happens to be part of the investigation with her cop partner Detective Rodney Barnes (played by Nicholas Lea), who shows more than a hint of racism when he suspiciously asks Britney’s father Sam (who’s Pakistani American) what his ethnicity is.

One of the big flaws in the screenplay is in all the illogical decisions made by Rebecca and Jay. By keeping Kayla isolated at home and preventing her from continuing her routine school activities, it actually makes Kayla look even more guilty and suspicious. At one point, Jay and Rebecca tell Sam that Kayla is at a doctor’s appointment, but since that’s a lie, there are no medical records to back it up in case Sam tells the police this information. And Jay and Rebecca’s attempts to prevent Sam from talking to Kayla just makes it look like Kayla has something to hide. Sam senses it too.

And about that lawyer that Jay said should be hired to help Kayla. It’s one of the reasons why Rebecca agreed to go along with Jay’s idea to cover up for Kayla. However, it’s not a spoiler to say that a lawyer is never hired for Kayla, although Jay and Rebecca are going to need attorneys, based on all the illegal things that Rebecca and Jay do to cover up for Kayla and all of their lies. The non-existent lawyer is one of many ways that “The Lie” dangles something in front of viewers and then just leaves it hanging.

And the ending of the movie is basically undermined by the fact that earlier in the film, the police investigating Britney’s disappearance found some important email between two people involved in the case. In order for the ending of the movie to be plausible, viewers would have to believe that the police overlooked other email and cell phone records from the same two people. And that investigator oversight doesn’t seem logical or plausible, considering the email between those two people that was already discovered by the police. Even if text and email messages are deleted, they can still be retrieved on hard drives through computer forensics that are available to police investigators.

Although the screenplay is problematic, “The Lie” does have very good acting from King, Enos and Sarsgaard, who do the best they can with the flawed script that they’ve been given. There are plenty of suspenseful moments, but too often they are followed by another ludicrous and extreme act by one of the loathsome main characters.

And what makes the cover-up worse in this story is that Rebecca is a former cop who makes some dumb decisions that no self-respecting person with police training would make. Main characters in a suspense thriller don’t have to be likable heroes, but they should at least be believable. And because the movie has too many characters who do too many incredibly stupid things, “The Lie” lacks credibility as a suspense thriller.

Prime Video premiered “The Lie” on October 6, 2020.

Review: ‘Human Capital,’ starring Liev Schreiber, Marisa Tomei, Peter Sarsgaard, Maya Hawke, Alex Wolff and Fred Hechinger

March 25, 2020

by Carla Hay

“Human Capital”

Directed by Marc Meyers

Culture Representation: Taking place in upstate New York, the dramatic film “Human Capital” has a predominantly white cast of characters (with a few African Americans and Latinos) representing the middle-class and the upper-class.

Culture Clash: A hit-and-run car accident and financial pressures affect the lives of two families from different socioeconomic classes.

Culture Audience: This movie will appeal primarily to people who like suspenseful dramas and who won’t mind that the story is told in a non-chronological manner.

Alex Wolff and Maya Hawke in “Human Capital” (Photo courtesy of Vertical Entertainment)

The tightly wound dramatic film “Human Capital” shows what happens when desperate people do desperate things and how they deal with the ethical dilemmas they face in the process. Based on Stephen Amidon’s 2004 novel “Human Capital” (which was adapted into the 2014 Italian film “Il Capitale Umano”), this American movie version begins with the incident that is at the center of the turmoil in the movie, which takes place in an unnamed suburb in upstate New York.

While riding his bicycle home from work one night, a restaurant waiter is suddenly stuck by a speeding Jeep Wrangler in a hit-and-run-accident. The Jeep Wrangler briefly stops and the unseen driver does not get out of the car before speeding off. Observant viewers can immediately notice some clues (including the make and model of the car), but even then it’s best not to assume that these clues are proof of who the perpetrator really is.

The mystery unfolds in layers, as the three acts in the story are each told from the perspective of three of the main characters: financially desperate real-estate broker Drew Hagel (played by Liev Schreiber), rich housewife Carrie Manning (played by Marisa Tomei) and high-school student Shannon Dark (played by Maya Hakwe), who is Drew’s daughter from his first marriage. (Shannon took her mother’s maiden name after her parents got divorced.) All of them are or will be connected to the hit-and-run accident in some way.

Drew’s perspective is told first. He’s first seen on screen with Shannon, as he drives her to the home of her new boyfriend Jamie Manning (played by Fred Hechinger), who is the son of a wealthy hedge-fund mogul named Quint Manning (played by Peter Sarsgaard). While Drew marvels at the Manning family’s large estate, Shannon acts like she’s not impressed by the family’s wealth and she looks like she just hopes that her father doesn’t embarrass her when he drops her off at the home.

Drew first meets Quint’s wife Carrie. In the space of a few minutes, Drew tells Carrie that he owns his own real-estate company, he and his first wife (Shannon’s mother) did not have friendly divorce, and he’s now married to a woman whom Drew calls “his trophy wife.” These are indications that Drew wants to give the impression that he’s a rich and successful businessman.

As Drew is getting ready to leave, he meets Quint, when Quint asks Drew to join him in a game of doubles tennis on the mansion’s tennis court. After the game, Drew asks Quint if he’s taking any more investors in his hedge fund WNV. Quint tells Drew that the only new investors he’ll accept are family and friends. But since they’ve gotten along so well in their short time together, Quint tells Drew that the minimum investment is $300,000.

Drew can get the money, but only through borrowing via home equity at a fairly high interest rate. Drew discusses the matter with his business manager Andy (played by James Waterston), who advises him against the deal. It’s a risky move because Drew’s real-estate business (he’s the only employee) hasn’t been doing well, but he’s too embarrassed to admit his financial problems to anyone other than Andy. Drew seems determined to impress Quint, with the hopes of making a profit from the investment, so Drew ignores Andy’s advice and goes through with the investment deal by doing something illegal.

Drew doesn’t tell his current wife Ronnie (played by Betty Gabriel) about this deal. But she’s got news for him: After having multiple miscarriages in the past, she’s now pregnant with twins. Ronnie is a therapist, but her salary wouldn’t be enough to cover the financial losses if Drew’s investment turns out to be a bad decision. Needless to say, the impending birth of the children puts even more financial pressure on Drew.

Meanwhile, the movie’s second act focuses on the perspective of Quint’s wife Carrie. Viewers find out that she’s interested in buying a run-down performing-arts theater in the area and turning it into a cultural center for movie screenings, stage performances and other events. But first, she needs her husband Quint’s money, and she convinces him to buy the theater for their nonprofit foundation.

One of the people on the foundation board is a professor (played by Paul Sparks), who recognizes Carrie as a former actress who used to do horror movies. When he’s alone with Carrie, he flirts with her and confesses that he’s a fan of her work. He also mentions that if the theater needs an artistic director, he’d like to be considered for the position.

During a lunch appointment with him, Carrie confesses that her marriage has had some problems, including Quint having “three affairs in 20 years.” When the professor asks Carrie if she’s ever cheated on Quint, her response is that she’s thought about it many times, but never actually did it. When Quint finds out about the lunch, he tells Carrie about a decision he made about the theater. You can see where this is headed, so it comes no surprise at what happens next.

The third and final act of the story is told from Shannon’s perspective. Viewers find out that she’s a lot more angst-ridden than she first appeared in the other parts of the story. She’s desperate for love and attention outside of her family, but hides that desperation behind a façade of appearing emotionally distant and insolent. While visiting her stepmother Ronnie at Ronnie’s job, Shannon is in the waiting area and meets another teenager named Ian, who is one Ronnie’s patients. They exchange some sarcastic banter, but it’s obvious that they’re attracted to one another.

There’s too much spoiler information to talk about what happens during other parts of the movie, but it’s enough to say that there are several flashbacks that revolve around what happened the night of a gala event where Jamie’s elite private school gave a prestigious award to one of its students. Seated at the same table at the event were Quint, Carrie, Jamie, Quint’s obnoxious lawyer Godeep (played by Aasif Mandvi), Godeep’s wife (played by Christiane Seidel), Shannon, Ronnie and Drew.

The American version of “Human Capital” (directed by Marc Meyers) is not as stylishly filmed as director Paolo Virzì’s Italian version. While the Italian version had a sleek, minimalistic look to its production design and cinematography, the American version opts for a grittier, more cluttered look. The American version of the movie is a straightforward mystery thriller, while the Italian version seemed to have more to say about the dark sides of ambitious social climbing.

Oscar-nominated screenwriter Oren Moverman (2009’s “The Messenger”) does a capable job with the American version of the “Human Capital” screenplay, which certainly ramps up the “whodunit” tension throughout the film. However, the film’s middle section that’s shown from Carrie’s perspective really doesn’t add much to the story, compared to the beginning and ending to the film.

One character in particular has a backstory that is mentioned but never seen in the movie. It would have been interesting to explore more of this person’s history. However, enough of this person’s background is revealed to explain why this person does an extreme act toward the end of the film. All of the actors do a very good job with their roles, but Hawke’s Shannon character is probably the hardest one to pull off because her character is the least predictable.

For people who want to know who committed the hit-and-run, the movie does end up showing the entire set of circumstances that led up to the hit-and-run, who was responsible, and what happened afterward. However, the American version of “Human Capital” doesn’t fully address some of the illegal acts that certain characters committed in the movie that might or might nor be related to the hit-and-run crime. In other words, some loose ends are tied up, but not all.

Vertical Entertainment released “Human Capital” on DirecTV on February 20, 2020, and on VOD on March 20, 2020.