There are period films that revel in accumulating accurate and/or eye-catching details of production design and costumes to evoke a particular era, and science fiction films that world-build with all of the imagination their budget can afford . Juel Taylor’soccupies a fascinating middle ground between the two: A more-or-less contemporary movie that looks like a period piece, and a sci-fi picture that stashes its wildest elements underground, sometimes literally.
Just after his visit to Slick Charles, there’s evidence that this head-down, money-first approach is preferable, as Fontaine’s earlier foray into vengeance comes back around, and the wounded dealer and his flunkies shoot Fontaine dead. Or so it seems. He awakes with a start, back in his home, and proceeds through the same routine we’ve already seen: Checking on his mom, swinging by the liquor store, collecting debts.
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