More often than not, the revenge movie taps into a primitive need to witness those who destroy innocent lives get their frontier justice. Though many progenitors within the genre skew towards its exploitative potential, reveling in the literal and figurative execution of the “eye for an eye” philosophy, the genre is often given to exploring the corrosive nature of blind vengeance. Especially recently, with titles from women directors.
Screenwriter Mark Burnell, who adapted his novel with the same name, wisely skips typical first act, overindulgent exposition, spending time in the protagonist’s happy home before it’s violently taken away. When we meet Stephanie Patrick , the trauma has already occurred. Years ago, her entire family died in a plane crash, and, unable to cope with the insurmountable sorrow, Stephanie turned to a dead-eyed existence of addiction and sex work.
One day, a freelance journalist named Proctor poses as one of Stephanie’s johns to drop a bombshell on her: The plane crash wasn’t an accident. It was a terrorist attack by a radical named Reza , a reality the American government covered up because of Reza’s connections to Middle Eastern government figures. Stephanie immediately makes it her mission in life to kill Reza and everyone who helped him facilitate the bombing.
Her first move is to track down an ex-MI-6 operative named Boyd and convince him to train her as a coldblooded assassin. Boyd can’t deny Stephanie’s determination, so he decides to put her through an elite murderer’s boot camp, but he’s also insightful enough to lecture Stephanie on the moral hardship of killing a person, and the lifelong guilt that follows it.educated us, if we want the main character to go from a beginner to a pro, all we need is a montage.
That doesn’t mean the set pieces aren’t gripping or bombastic in their own right. Morano’s often visually imaginative direction and Sean Bobbitt’s kinetic cinematography result in a couple of spectacular sequences, chief among them a car chase that combines the precision of that long single take from the first half ofmovies. Morano also experiments with the expected set-up and payoff of assassination scenes.
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