Don't Move

Directors: Adam Schindler and Brian Netto
Starring: Kelsey Asbille, Finn Wittrock, Moray Treadwell, Daniel Francis
Running Time: 92 min.
Rating: R

★★★ (out of ★★★★)    

You'd figure the lesson to extract from directors Adam Schindler and Brian Netto's efficiently suspenseful Netflix thriller Don't Move is that traveling alone to a secluded park early in the morning isn't the best idea. But after the unimaginable loss this film's heroin suffers, personal safety wouldn't be a priority. She's there to kill herself, or at least that's the plan. And once we know the details of her pain, the motivation is clearer, regardless of our feelings about the choice. What happens instead not only gives her an incentive to live, but fight, much to her assailant's frustration. 

Calculated in certain ways but immensely sloppy in others, her abductor has a plan, but as one mistake leads to another, he'll have to contend with a resourceful protagonist who won't give in. That she contemplated suicide only minutes earlier is the cruel irony of a script that wrings tension out of how helplessly insulting it is to have a psychotic stranger decide your fate. Produced by Sam Raimi, it seems like the type of project you'd see him tackling in his early days, which isn't to say it's flawless by any stretch. But with a premise keeps you engaged for a tight, pulse pounding hour and a half, it wisely utilizes its ticking clock to raise the stakes and generate suspense.

Still grieving the accidental death of her son Mateo during a family hike, Iris (Kelsey Asbille) gets up early to drive to a California state park while her husband sleeps in bed. After placing Mateo's toy boat at his memorial under a tree, she approaches the edge of the cliff and prepares to jump before being interrupted by Richard (Finn Wittrock), a seemingly concerned passerby out for a walk.

When the two converse over the shared pain of losing a loved one, Iris has second thoughts, only to have Richard taze and kidnap her. Zip tied in the back of his car, she struggles to escape before discovering his backup plan. Earlier, he injected her with a paralyzing agent, its effects now just starting to take hold as she desperately crawls through the woods. Losing all muscle control and the ability to speak, Iris's breathing rapidly slows while a deranged Richard closes in, looking to finish her for good.

Much of the setup takes place before its title credits, but once this stranger reveals his true colors, he immediately starts making errors. Either he's playing mind games or the mental stress of leading a Dexter-like double life stand as the only feasible explanations for his carelessness. Luckily, Wittrock (who resembles a crazed Johnny Knoxville) injects some life into the somewhat tired trope of normal family man with a dark side, ensuring his character's instability accounts for any logic gaps. And while he could still use about five more contingency plans, his biggest problem is assuming he'll have all the time in the world to kill Iris. Though her paralysis comes on fast, the drug's effects will eventually wear off, if she can make it that long.

Those familiar with Asbille through TV's Yellowstone are in for a surprise when they see what she does in a more challenging role that requires her to go long, motionless stretches in total silence, using only her eyes and breathing to communicate the escalating severity of this life and death predicament. It's especially noticeable in an extended cabin sequence where her mute, incapacitated character hides in plain sight, watching in horror as Richard manipulates the residence's owner. Or a tension-filled stop at a gas station where she competes against her own failing body in a last ditch effort to seek help. 

The longer this goes the lower Iris's survival odds drop, and while it's a stretch to call Don't Move unpredictable, it does have some clever tricks up its sleeve in how she manages to turn the tables. So while you could still pick it apart, this has less issues than most in the genre, as well as a high concept carrying it through. The closest comparison is 2024's acclaimed cult hit Strange Darling, minus the twisty, non-linear storytelling. What does unfold is a similar cat-and-mouse game between a killer and their prey, as this sadistic control freak terrorizes a woman with nothing left to lose.                                

Deep Water

Director: Adrian Lyne
Starring: Ben Affleck, Ana de Armas, Tracy Letts, Grace Jenkins, Rachel Blanchard, Kristen Connolly, Jacob Elordi, Lil Rel Howery, Brendan C. Miller, Finn Wittrock 
Running Time: 115 min.
Rating: R

★★★ (out of ★★★★)

A man watches his wife flaunt her extra-marital affairs about town, outwardly accepting that she can do whatever she wants in their open relationship, even while he's viewed as an emasculated joke by their friends. Slowly, he grows tired of this humiliating arrangement and a rage builds inside. No longer able  to contain himself, it's only a matter of time before he snaps. But enough already about Will Smith's marriage. Adrian Lyne's latest erotic thriller, Deep Water, finds the 81 year-old director back in territory reminiscent of some of his most notable and controversial efforts, such as 9½ Weeks, Fatal Attraction, Indecent Proposal and Unfaithful. 

The tone here isn't nearly as sure-footed, but as far as B-movie sleaze goes, it's actually a lot of fun. Of course, this is more of a good time if you're receptive to the idea of watching a darkly comedic parody of those aforementioned films, which some would accuse of already being spoofs of sorts. That it looks great, is well made and carried by two stars as talented as they are famous helps a lot, with both actors totally game and aware of the type of project they're in, committing themselves accordingly.

Vic Van Allen (Ben Affleck) is a wealthy, retired robotics engineer living with his wife, Melinda (Ana de Armas) and their young daughter Trixie (Grace Jenkins) in the small town of Little Wesley, Louisiana. Their combative, almost entirely loveless union is built upon a mostly unspoken arrangement that seems to benefit her far more than he. It's basically understood, even by friends who know them, that they're in an open marriage where she can comfortably take on as many lovers as she wishes just so long as she doesn't abandon her family. 

The flirty, extroverted Melinda relishes attention from men, publicly throwing herself at each new one she encounters as a sullen, morose Vic stands in the corner at parties, seething with jealousy. With his role how relegated to making dinner for her various boyfriends, he's finally had a enough. After Vic makes a not so thinly veiled threat against Melinda's current flame, younger musician, Joel Dash (Brendan C. Miller), about having previously killed one of her ex-lovers, their marriage is now on shakier ground than ever. And when her latest boyfriend ends up dead in a swimming pool, suspicion turns toward Vic, who may or may not be harboring a dark secret that threatens to unravel their already toxic relationship.      

Most of the opening hour sees sulking, dejected Affleck as Vic almost sleepwalking through his wife's very public displays of infidelity. If an open marriage arrangement was made, he was either the last on Earth to find out or entirely uncomfortable with the ground rules. It turns out to be the latter, and whatever sympathy anyone could muster for him having to watch his wife throw herself at every man in town evaporates a lot faster than you'd expect. She's a handful for sure, fiery and and wildly unpredictable, but if he really cared that much he'd just leave, so a good portion of the film is spent waiting for him to explode. 

Her indifference to his anger is evident when she first brings home her "piano teacher," Charlie (Jacob Elordi) and then college ex Tony (Finn Wittrock), both of whom send Vic over the deep end. Leaving Melinda is too simple a solution and against his supposed principles, so if he can't have her all to himself, we can figure out the rest. When the film's major centerpiece incident occurs and nosy neighbor Don Wilson (Tracy Letts) becomes obsessed with proving Vic's a murderer, much to his wife Kelly's (Kristen Connolly) justifiable embarrassment.

While many have given Affleck a tough time for taking on troubled, middle-aged sad sack roles like this, he's really exceptional at it, especially here when given very little dialogue in the picture's first half, instead revealing most of Vic's inner plight through depressive body language and facial expressions. And after breaking through in Knives Out and outright stealing No Time to Die, this further extends Ana de Armas' streak as one of the most exciting actresses around. Bringing a wildly devious, frenetic energy to Melinda's every scene, de Armas is completely convincing as this woman entirely uninterested in being controlled by her husband or anyone else. You almost get the impression that Vic could kill not only half the men in this small town, but most of Louisiana, and Melinda still wouldn't run out of candidates to sleep with just because she can.

As absurd as the entire plot is at times, Lyne does really get a lot of little details right, like the social dynamic, as Vic and Melinda's friends look at their fractured marriage with both bewilderment and pity, at least when they're not partying. Watching, all we can think of is the adverse affect it's likely having on precocious daughter Trixie, who's stuck in the middle of this mess with two walking disasters for parents. 

Tracy Letts basically steals the show as the very suspicious Don, who's plagued by his unhealthy preoccupation with exposing Vic's potential guilt. It leads the story down a ridiculously compelling path, as he's good enough an actor to actually us that this pompous windbag of a character would take the dumb steps he does in the crazy last act. At the very least, it's no more far-fetched than believing Affleck as a retiree who amassed his great wealth from building guidance chips for drones, a detail that results in a lively political argument.  

That a long gestating project completed years ago was earmarked for a theatrical rollout before heading to Hulu shouldn't be taken as a damning indictment on its quality, especially since such a fate is commonplace now for mid-level adult dramas. If nothing else, it contains one of the more insane vehicular chase scenes in recent memory, featuring some extreme mountain biking and an important public service warning for anyone still on the fence about that whole texting while driving issue.  

That this is actually based on a 1957 Patricia Highsmith novel seems almost impossible to believe given how jarringly modern its story and setting feels. Having not read the book and going strictly by its synopsis, Zach Helm and Sam Levinson's screenplay doesn't seem to veer far from the source plot-wise, aside from a wacky ending. In this sense, Lyne deserve a lot of credit for updating the material to fit the type of 90's erotic thriller Deep Water is clearly being patterned after. While mileage may vary as to how successfully viewers think this was captured, it still harnesses something in that realm with more entertaining flare than expected.