The Brave One begins by building on the perplexing question of vigilantism, and is unbuilt swiftly with the aid of one of those astonishingly vapid scripts that somehow went to the screen rather than the shredder. Foster and Howard are reservoirs of talent, but
Note: Vigilantism has attracted better product (if not better talent) than this, in the form of Shyamalan’s somewhat unloved hit Unbreakable. There the ethical problem of individual heroism is distinguished by the filmmaker's penchant for gravitas. The Brave One has similar aspirations, but with no weight to back it and a taste for grandeur that’s mortifyingly misplaced.
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