The Last Days of American Crime, the new Netflix action movie comes to our screens with some social criticism and a lot of blood, with an interest that fades as the footage progresses, too much firework for so little partying.
In The last days of american crime, The United States is going to stop crime forever, with an infrasonic signal that controls violent and criminal impulses, incapacitating the wrongdoer. This apparatus was a secret until recently, and the population has risen furiously against it. During the days before the mechanism starts up, before crime becomes impossible, a group of marginalized people will carry out a bold robbery, which will be the last American crime.
What a priori is a good argument for an action film with touches of thriller, ends up being an excuse to chain scene after scene of action of all kinds. Even the dialogues end up being verbal challenges and staring fights, not too well carried out.
The film is based on the comic The last days of american crime a work by Rick Remender and Greg Tocchini that stands out for its noir character, its rawness and a high quality drawing. In its pages we find a destroyed society in which being an outcast was bad, and it will be worse. That is why desperate people join in a last attempt to solve life with a great blow at the worst time. All the elements that Chandler, Hammett or Thompson created with the black gender, had their place. Nothing was new, but it was very well used, and the direct and hard story, without contemplation, caught.
From all this, the work of Olivier Megaton, stage name that was put by the coincidence of his birth with the date of the launch of the A-bomb in Hiroshima, takes the basic elements, and nourishes them with new twists and details, cluttering the film. of too many things. Although at first they do not clash, their use ends up weighing heavily on the rhythm. Because the rhythm is strange, every 10 minutes something happens, a fight (physical or psychological), a chase, a revelation, without going as far as script turns, they start a subplot. But it is quickly resolved before the next, so as not to hinder the narration, giving rise to mini-spaces of tension, which end up producing satiety, the sensation is not continuous, but comes and goes, but so many times, that the viewer gets tired, and ends up taking off from the movie.
Actors without being bad, they work with little, when they are given something else, they are taken away so that nothing is extended too much, the film advances to sub-plot blows, so except for the main plot and the love story, no there are great moments to show off. Michael Pitt stands out, who takes advantage of the spaces they leave him to look like a maniac with very few bolts fixed, and who exemplifies how the madness of the situation is destroying the country, the Pope wants everyone calm, and the Pope of Pitt wants it dead, so as not to disturb, like the USA to its population. Edgar Ramírez rides the automatic with little interest in anything, being very tough, and showing that he has a heart from time to time.
The mounting and steering don't help too much hooking. The former is strange, slow and dense at first, unnecessarily lengthening the sequences to create a sense of depth that is not real, and then speeding up suddenly and not until the end of the film. Megaton is one of those selected by the producer of Luc Besson to carry out his action cinema made in France. Took care of Taken Revenge 2 and 3, and it seems that when producers keep it short, it is capable of not getting out of control. But nobody controlled the Frenchman here, and the direction is a lot of shots that are never still and that always seem to look for the confrontation, as if he wanted the viewer to hit the screen. In the end, more than wanting to do it, they want to turn it off.
One of the purest resources of the black genre that the film takes is that of the narrator who complements the plot with his monologues. But that disappears after the first third of the film because the director cannot add anything to pure action scenes, only explosions. A resource that seems to indicate that we are in a genre but that is finally forgotten, as well as the genre itself, going from neo noir to a pure and simple action film.
The Last Days of Crime is a film that for action lovers can be entertainment, but they will not add to their list of notable titles, because in the end it is monotonous and histrionic to such a level, that you are wishing that the most of two hours that lasts. His greatest achievement, confirming the theory of relativity, the perceived time may be longer than the real one, 140 minutes feel like 240.
You can also see our review on the channel below
The Last Days of American Crime
Synopsis: In the not too distant future, the United States Government plans to activate a signal to stop all criminal behavior. A thief joins a plan to deliver the last blow that will go down in history.Director (s): Olivier MegatonCast: Michael Pitt, Sharlto Copley, Edgar Ramirez, Anna Brewster, Jay Anstey, Inge Beckmann, Sean Michael, Tamer Burjaq, Robert Hobbs, Daniel Fox, Carel Nel, Nathan LynnGender : Action
JOTA (J.C. Royo)
Users rating /5
( Be the first! Votes )
"@context": "http: / / schema.org",
"image": "https: / / www.cinemascomics.com / wp-content / uploads / 2020 / 06 /the-last-days-of-american-crime-1-150x150.jpg" ,
"description": "In the not-too-distant future, the United States Government plans to activate a signal to stop all criminal behavior. A thief joins a plan to deal the last blow that will happen to the history.",
"name": "Olivier Megaton"
"name": "Michael Pitt, Sharlto Copley, Edgar Ramirez, Anna Brewster, Jay Anstey, Inge Beckmann, Sean Michael, Tamer Burjaq, Robert Hobbs, Daniel Fox, Carel Nel, Nathan Lynn"
"genre": "Acci u00f3n",
Cinemascomics.com | Movies, comics and series