Stream it or skip it?

netflix movie I came for stars Hugh Bonneville as a top-tier upper-crust supercreep who loves rick and morty, which I found quite offensive. NOT ALL RICK AND MORTY UBERFANS ARE SERIAL KILLERS. I just need to make that clear. Not all of us queued for the szechuan sauce. In any case. Director Babak Anvari’s thriller is otherwise a pretty bleak affair starring the ever-underrated Kelly MacDonald, 1917George MacKay’s George MacKay and the less recognizable Percelle Ascott, who might give the most memorable performance in this oft-seen but also often-improbable film that slips ideas of privilege and race into many of the usual tropes of the gender.


The essence: Toby (MacKay) and Jay (Ascott) practice anti-establishment by breaking into the homes of wealthy and influential people and painting their walls with graffiti. I CAME BY is their spray paint signature, earning them notoriety and news clips. Toby is 23 years old and unemployed, living with his mother (MacDonald), who worries about his anger and her lack of direction. We walk around his room, covered with his wild artwork, and listen A Clockwork Orange music, a bit of Ludwig Van, suggesting things, perhaps. Jay works in legitimate construction, and while working on a posh house owned by ex-judge Hector Blake (Bonneville), he suggests that this wealthy guy should be his next target. He even has ivory tusks on the ledge of him. F-that idiot.

But then Jay’s girlfriend Naz (Varada Sethu) has a doctor’s appointment, and you know what that means in movies like this: yes, she’s pregnant, but the movie wisely stops before she runs to the bathroom. to vomit. So Jay wants to get out of the quasi-anarchy business and fly straight. He’s been bitten a couple of times and as a black man, he says, he’ll once again be locked up for a long time. So Toby has to do it alone. He disables Hector’s Wi-Fi security system and peers at the painted portrait of Hector’s father, grimacing and hovering over the mantelpiece. Curious. Then he hears a noise in the basement. he investigates Blow, blow. Just an oscillating fan. But the thump-clunk continues anyway. Where does that ray of light come from? A secret hidden door?

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Elsewhere, it is established that Hector is very, very fit and just as connected: he just beat up the cop in a game of racquetball. He is also wired in a technological sense: he receives a phone notification that his security system has been disarmed. uh oh. All I will say is that things progress, ominously. Hector is having lunch in front of the TV one day and the clunk-thump-clunk downstairs is loud, so he just shows up rick and morty to drown it out and then TOC TOC TOC TOC. They are the police. That could almost be more fun than rick and morty (It is not; any funnier than rick and morty), because do you really think a rich white ex-judge can’t lean on the police and get the benefit of the doubt?


Which movies will it remind you of? I came for is a derivation of do not breathe Y The silence of the lambs in a sociopolitical context from 2022 to the Salt.

Performance worth seeing: Ascott is given a relatively nuanced character in a script that loads MacDonald and Bonneville with 1-D arcs: uptight mother and deviant psycho, respectively. Jay is at least caught between the good rock and the hard place, torn between helping his friend Toby, a path to inevitable trouble, and committing to his young family.

Memorable Dialogue: Hector taunts one black, female cop in particular who is investigating his suspicious behavior: “Is that all you got? You seemed like one of the smart ones.

Sex and skin: None.

Our take: I came for it’s a carefully directed exercise in suspense and socially conscious heavy-handedness that holds our interest despite a sloppy script that makes awkward jumps in time and frequently switches from one lead to another. That makes it hard to fall into the groove with any of the characters, Anvari (co-writing with Namsi Khan) leaning on our general distaste for the villainous nature of the Bonneville villain to drive the plot forward, progress through plot holes, situations implausible and logical. inconsistencies

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But those are not deciding factors. Anvari’s biggest concern seems to be keeping us off balance and guessing his next move, waiting for the other shoe to drop even though it never does. Rather than be content to deliver yet another bland police thriller, the filmmaker further expresses his ambitions in the text, making sure we are aware that White Privilege is the devil whispering in the ears of the ever arrogant and excessively powerful class. trustworthy Sometimes it takes a bit of anarchy to balance things out, and if that suggestion isn’t much for the subtext, it is at least something.

Our call: TRANSMIT IT. I came for it’s sometimes just over an inch deep, and often more than a little silly. But it keeps our eyes, ears, and brains engaged, the mark of a rock-solid thriller.

John Serba is a freelance writer and film critic based in Grand Rapids, Michigan. Read more of his work at

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