The title obviously genuflects to the epic blue-collar poetry of the classic Bruce Springsteen song, but it's the bard of New Jersey's 2014 cover of "Dream Baby Dream," heard on the end credits, that better encapsulates the themes of.
With a few brief but expressive shots of dying industry and urban decay, cinematographer Damian Garcia swiftly establishes the milieu of working-class blues the brothers are angling to leave behind. Sky initially gives away very little about herself, though she rolls her eyes with skepticism about Stan's ability to achieve his "spectacular goals." But it gradually emerges that she has traded her suffocating Christian family in Indiana for an even more constricting situation in Nevada, with a sleazebag crime lord named Yates . Sky has no intention of going back there.
The shift into the more gnarly thriller territory of the sinister Yates and his goons becomes formulaic, its derivative neo-noir nastiness not helped by distinguished stage veteran Cullum being so miscast. The revelation of the real reason Yates is so determined to get Sky back is more than a little preposterous, and the eruption of violence handled without much impact.
These two this must be a hell of a flick. TIFF19
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