Après une confrontation avec un homme instable à une intersection, une femme devient la cible de sa rage.Après une confrontation avec un homme instable à une intersection, une femme devient la cible de sa rage.Après une confrontation avec un homme instable à une intersection, une femme devient la cible de sa rage.
- Prix
- 1 nomination au total
Devyn A. Tyler
- Mrs. Ayers
- (as Devyn Tyler)
Scheryl W Brown
- Woman in Street
- (as Scheryl W. Brown)
Histoire
Le saviez-vous
- AnecdotesThe first movie to enter wide theatrical release in the USA after the closure of most theaters due to the COVID-19 pandemic. Between the March 13th, 2020 releases of Bloodshot (2020), La Chasse (2020), and J'y crois encore (2020) and the August 21st expansion of this film into 1,823 North American theaters, there was a gap of over five months with no new wide theatrical releases at all.
- GaffesCooper's minivan rams multiple cars, yet the headlights are intact and the front is barely scratched.
- ConnexionsFeatured in Chris Stuckmann Movie Reviews: Unhinged (2020)
- Bandes originalesSo Good Looking
Written by Luke Pritchard (PRS), Brandon Friesen (BMI), Chris Seefried (BMI), Hugh Harris (PRS)
Performed by The Kooks
Published by Kobalt
Courtesy of AWAL
Commentaire en vedette
There's nothing wrong a decent thriller where two people face off on the road using their wits and their heavy machinery. So this movie could have been the Duel (1971) of the 2020s (or at the very least a Joy Ride (2001)), but unfortunately, it lacks a director like Steven Spielberg or John Dahl to make it work.
After a shocking opening scene, director Derrick Borte starts off nicely with a disturbing montage that shows us the horrible consequences of explosive aggression and road rage. For a long time, his movie seems to be a passionate plea to have more patience and compassion with others in a harsh society where everyone is under constant pressure, because you never know what the other person is going through. Too bad that he gradually undermines this message with cheap shocks and sadistic violence.
It's good to see Russell Crowe again after such a long absence, because watching his heavily disturbed maniac snap and terrorize a lady that just happened to piss him off is definitely one of the scarce highlights of the film. No Oscar material, but the man is still an acting heavyweight (no pun intended... well, maybe a little), so much so that leading lady Caren Pistorius cannot hope to carry this movie in his presence. In fact, her character is so passive and uninteresting that I felt very little sympathy for her plight. I don't know if it was the intention here, but I always love movies where you cheer for the bad guy for a very long time, like Face-Off and Law Abiding Citizen; everyone loves tragic villains, and you always hope that the makers can delay that moment where you lose sympathy for them until the very last.
Unfortunately, this moment comes way too soon in the movie. In the first half we get some motivation from Crowe's and Pistorius' character for their actions, but that wears off quickly in an endless rampage that seems to be an excuse for a lot of torture porn. There is nothing fundamentally wrong with that, as long as you keep developing your key players. Especially psychopaths work best when they remain completely unexplained mysteries, or when they get fleshed out properly, like the psychologic-meltdown classic Falling Down. However, Crowe and Pistorius never get beyond their minimal and one-dimensional backstories. When the bad guy gets to the point where I no longer rooted for him (again, way too soon), you hope that your allegiance changes back to the heroine. But Pistorius' character keeps making such bad decisions (up to and including a laughably set up climax) that by that time, I no longer cared about either, and could only worry about the collateral damage.
Too bad for Crowe and Jimmi Simpson, who probably have one of the best scenes together when this movie is still promising. But the pressure to marry action with psychology, and to increase the stakes with such disregard for realism really starts working against the film and characters. I don't mind violence in movies at all, but it should make me invest in characters, not get desensitized and bored.
I like a good battle of character like everyone else, but when the action and suspense start feeling stale because I'm no longer emotionally engaged, then it's just mostly a waste of time. But granted, it's not a complete disaster and it had its moments. I hear people praising this movie as super-suspenseful, so by all means, try it out. But don't say I didn't warn you.
After a shocking opening scene, director Derrick Borte starts off nicely with a disturbing montage that shows us the horrible consequences of explosive aggression and road rage. For a long time, his movie seems to be a passionate plea to have more patience and compassion with others in a harsh society where everyone is under constant pressure, because you never know what the other person is going through. Too bad that he gradually undermines this message with cheap shocks and sadistic violence.
It's good to see Russell Crowe again after such a long absence, because watching his heavily disturbed maniac snap and terrorize a lady that just happened to piss him off is definitely one of the scarce highlights of the film. No Oscar material, but the man is still an acting heavyweight (no pun intended... well, maybe a little), so much so that leading lady Caren Pistorius cannot hope to carry this movie in his presence. In fact, her character is so passive and uninteresting that I felt very little sympathy for her plight. I don't know if it was the intention here, but I always love movies where you cheer for the bad guy for a very long time, like Face-Off and Law Abiding Citizen; everyone loves tragic villains, and you always hope that the makers can delay that moment where you lose sympathy for them until the very last.
Unfortunately, this moment comes way too soon in the movie. In the first half we get some motivation from Crowe's and Pistorius' character for their actions, but that wears off quickly in an endless rampage that seems to be an excuse for a lot of torture porn. There is nothing fundamentally wrong with that, as long as you keep developing your key players. Especially psychopaths work best when they remain completely unexplained mysteries, or when they get fleshed out properly, like the psychologic-meltdown classic Falling Down. However, Crowe and Pistorius never get beyond their minimal and one-dimensional backstories. When the bad guy gets to the point where I no longer rooted for him (again, way too soon), you hope that your allegiance changes back to the heroine. But Pistorius' character keeps making such bad decisions (up to and including a laughably set up climax) that by that time, I no longer cared about either, and could only worry about the collateral damage.
Too bad for Crowe and Jimmi Simpson, who probably have one of the best scenes together when this movie is still promising. But the pressure to marry action with psychology, and to increase the stakes with such disregard for realism really starts working against the film and characters. I don't mind violence in movies at all, but it should make me invest in characters, not get desensitized and bored.
I like a good battle of character like everyone else, but when the action and suspense start feeling stale because I'm no longer emotionally engaged, then it's just mostly a waste of time. But granted, it's not a complete disaster and it had its moments. I hear people praising this movie as super-suspenseful, so by all means, try it out. But don't say I didn't warn you.
- Field78
- 19 juill. 2020
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Détails
- Date de sortie
- Pays d’origine
- Sites officiels
- Langue
- Aussi connu sous le nom de
- Unhinged
- Lieux de tournage
- Nouvelle-Orléans, Louisiane, États-Unis(on location, street scenes)
- sociétés de production
- Consultez plus de crédits d'entreprise sur IMDbPro
Box-office
- Budget
- 33 000 000 $ US (estimation)
- Brut – États-Unis et Canada
- 20 831 465 $ US
- Fin de semaine d'ouverture – États-Unis et Canada
- 601 032 $ US
- 16 août 2020
- Brut – à l'échelle mondiale
- 44 331 465 $ US
- Durée1 heure 30 minutes
- Couleur
- Mixage
- Rapport de forme
- 2.39 : 1
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