Juillet de sang

A neo-noir directed by Jim Micklee based on a novel by Joe Lansdale, a dark, grim and gritty tale of retaliation and retributions. The ramifications of a murder, lead to the carnage and involved people can go at any length. This is not your usual thriller but a compelling mysterious story which keeps us at the edge of our seats.

Set in 1989 Texas, Richard Dane (Michael C. Hall) a common family man, one night defensively guns down an intruder. The police quickly identify the corpse as a wanted criminal and bury him. Richard still feels the remorse of killing a human being and goes to the cemetery where the dead man's father Ben Russell (Sam Shepard) threatens to kill Richard's young son. In order to save his family Richard takes police help however consequently he unfolds some secrets, now Richard and Ben will take the assistance of a brash private detective, Jim Bob (Dan Johnson), to crawl to the core of Richard's uncertainty.

The narrative is paced with lots of twists and turns to keep us engaged throughout the run time of 150 minutes. The minute details of 80's Texas are just impeccable. The screenplay will keep you on your toes as the tension builds subsequently. The overwhelming final shot portrays a brutal and stylized violent scene which is fresh and instinctual. However, some of the details are missing here as the some unexplained loose ends which are not tied and there should have been a better female cast.

The performances are brilliant, Hall is stellar as a protective family man and the transformation his character is immaculate. Shepard is remarkable as a distressed father, looking for his son. Johnson is a scene stealer having as much fun as anyone can within such confine.

Cold in July is a captivating experience with tense and unsettling tone. The independent cinema is at its best.

My Vite 7.5/10

An endless orgy of twists & turns that begins & ends with a bullet being fired, Cold in July isn't an easy film to pin into any genre because it starts as one thing, then changes its course around the middle, seems to be heading in the direction you predicted but once again takes an unexpected turn to become something else entirely.

Co-written & directed by Jim Mickle, this indie keeps shifting its gear which stacks up pretty well in the end as the aura of tension & mystery that's present in the story throughout its runtime is nerve-wracking. Camerawork is expertly handled, editing is slick, background score neatly compliments the whole narrative and the tonal shifts are done in a way that only brings the viewers in instead of out.

As far as performances go, the film boasts a badass cast in Michael C. Hall, Sam Shepard & Don Johnson and the trio is impressive in their given roles. Hall plays an everyman & it is through him that we enter into the story, Shepard contributes in with a strong performance of his own but it is Don Johnson who leaves the most lasting impression and steals every scene he's in with ease & finesse.

On an overall scale, Cold in July is a tense, gripping & expertly narrated indie that offers an immersive drama which eventually culminates on a highly satisfying & emotionally rewarding note. Worthy of a broader viewership & definitely one of the finest films of the year, not to mention amongst the coolest as well, Jim Mickle's latest film is absolutely worth your time & money and comes thoroughly recommended.

(89%) One of those great little movies that will sadly get seen by far too few, and although it is not a 100% slab of solid gold, it's still a really damn good piece of storytelling. First of all the 1980's style soundtrack is sublime, a true contender for the best of the year without a shadow of doubt. The performances couldn't be much better, Michael C. Hall is perfect as the mullet headed everyman caught in a very tricky spot, and Don Johnson breathes a breath of fresh air into the second half. The direction is focused and unfussy. While the story is fantastically well paced as it twists and turns almost constantly, I just cannot recommend this enough. A must-watch American future classic that's worth the time, effort, and money watching properly at the cinema, so do so, you won't regret it.

The distinction between murder, manslaughter and self-defence is one that continues to grow more appropriate in America with each passing year. How does one determine the truth when only one key witness is available to divulge in their perspective? Especially when the odds are in their favour by accidentally shooting a "wanted felon" in the eye. The police view it as heroism. The general public questioning its intent. The victim's father overwhelmed with rage and demented turmoil, threatening the safety of the family thrown into the icy-cold chills of crime.

Mickle's intentionally masculine crime thriller is one that evokes themes of fatherhood. The paternal rights and responsibilities of their children who may, or may not, be following the path of sin. Ever increasing the protectorship of their guardian figure for the sake of the family they have lovingly crafted. It's a natural instinct. To protect our own flesh and blood, no matter the cost. But what if that expenditure is too severe? What if their existence is causing suffering to others? The morality of these two fathers, the shooter and the victim's patriarch, is tested through unlawful extremities. Challenges that conjure inner turmoil. And it's only through Mickle's astute direction do we as viewers journey down this careening route of masculinity.

What starts off as a simplistic revenge thriller soon complicates itself into an absorbingly comedic drama, whilst still shrouded in pulpy neo-noir aesthetics. Grace's booming synthesised score and Samul's ornate use of vivid neon backdrops cement the noir elegance. Yet it's Mickle's insistence in shifting genres, adding a quirky aura of surrealism to the mix, that acts as gritty adhesive. Does it work? Not quite. The brutal tension that is meticulously built up in the first hour is palpable. Slow panning through tight corridors. Strikes of lightning illuminating the bleak darkness of 80's Texas. The atmosphere compact with nullified thrills.

Then the plot thickens. The local police become involved, a recruited Private Investigator struts his stuff and suddenly the genre changes. Intrinsic comedy is injected through Johnson's character, contrasting against Shepard and Hall's intimidatingly serious performances. Unfortunately, this relieves the suffocating tension that preceded it, relying on a clichéd yet stylistic conclusive shootout with moments of jarring humour. Whilst it does add characterisation, Mickle's screenplay rarely furthers itself by being weighed down by overly basic dialogue. Conversational scenes, particularly between the two fathers, seemed muted. Lacking in fire and anger. If the script had been tighter with some sharper tongues for the characters, the complacent genre shift would've been more forgiving. The two were unable to mesh cohesively.

That's not a detriment to the overall technicality and theatricality of Cold In July. It remained bitterly deadly throughout and utterly watchable. If only the script had been tighter and the narrative differences more seamless when transitioning, we could've had ourselves an incredibly rare hidden gem of noir excellence.

This dirty little piece of Texas pulp rides the fine line of art of trash with brilliant composure as its dark script teases you with how far it'll go. The seed is planted when an everyman kills an intruder in his home, and the story spins wildly out of control from there. The story moves forward at a brisk pace and never looks back. Sure that means there are as many holes as there are unanswered questions, but such is the case with pulp. You gotta live in the now, man. In the end, I'm still not sure how to process what I've seen, and I've gained no further insight or knowledge about myself, the world, or humanity. And I wouldn't have it any other way