Les racines de la violence

I didn't expect much and sat for a typical plot for a typical genre. The movie started slow but went to a climax quicker than I though. The core of the film impressed me the most when you realised the garden is a symbol of life and your choice in life will nourish what comes of it. It's not too late for anythingand there's always achance to have a garden full of colours and energy.

I guess we all had to make choices in life and there and that's why there is something for everyone in this movie.

You're in it for a treat. Good writing and a better cast is something that you don't see these days.

Thank god for intelligent film making. This story of second chances and redemption is not without its problems but overall is time well spent if you actually want to watch a story unfold. The basic plot of bad man atoning for a past life through enabling others is a well worn furrow which usually ends in an orgy of violence or a tragic sacrifice but not so here. In Edgertons measured and nuanced performance we have a far better and more realistic journey as he demonstrates once again how underrated he is as an actor. Sigourney Weaver demonstrates just how damm good she is and relative newcomer Swindell holds her own. If I were to critise it would be the continuity and editing, at times I was left thinking that a scene was missing and some of the linkage plain didn't work, thankfully the overall arc of the story and the performances kept me interested enough to let the flaws slide. Give it a watch.

I have to say, I haven't seen any of the other two movies part of this thematic trilogy, but as far as I know they're independent stories.

To start with, the story is nothing original. It's been done many times before, and better.

The story of a guy with a dark past and set of skills, retired from that life, trying to live a quiet life in a small job, but trouble comes up and the guy goes back to old habits.

I know, that's not all there is here, but the rest, honestly, didn't blow my mind neither. I just didn't connect with the characters or what they do. And it's actually weird, because I do like gardening and nature in general, but it just didn't click for me.

Also, I felt the visual aspect wasn't great. I get the pale colour palette, but still, the shots didn't catch my eye or made an impression, except for the monotony and bland character of it. I know many won't be so exigent with this aspect, but I consider it an important aspect and with so many great cinematographers in the industry, if a movie doesn't have this aspect covered, I feel frustrated and disappointed. After all, movies are a visual form of entertainment, which include other many aspects, but it's a visual thing first!

Besides all that technical criticism, I found the ending quite weird, awkward, a bit cheesy and even slightly nonsensical at some degree, considering the character Norma (S. Weaver).

On the performances side, everyone give solid acts, that's the strongest point of the movie for sure.

Quite a disappointment, I was expecting this to be a solid movie, but it ended up being a mediocre piece, for me.

Greetings again from the darkness. The word of the day is "awkward." Every character, every situation, every moment, and every conversation in this film can be described with that word. An attempt will be made to not overuse that adjective here, but yours truly offers no guarantees. Paul Schrader has had a long and impressive career as both writer and director. His early successes include screenplays for TAXI DRIVER (1976), ROLLING THUNDER (1977), RAGING BULL (1980), and THE LAST TEMPTATION OF CHRIST (1988), as well as directing AMERICAN GIGOLO (1980) and AFFLICTION (1997). The past few years have been a bit of a resurgence for Schrader with the excellent FIRST REFORMED (2018) and THE CARD COUNTER (2021).

In his latest, Schrader gives us Narvel Roth, an expert horticulturalist played by Joel Edgerton. Narvel is responsible for the massive gardens on the estate of wealthy dowager Norma Haverhill (Sigourney Weaver). Narvel's daily rituals are carried forth with his meticulous approach, including daily journaling in his sparse living quarters located on the grounds of the estate. As narrator, Narvel tells us, "a change will come in its due time", and though he's speaking of the garden, we understand the words also apply to him. Soon enough, we learn that this current lifestyle represents a significant change from his past, and it's clear another is brewing.

The relationship between Narvel and Ms. Haverhill is quite unorthodox, and yes, awkward (she has nicknamed him 'Sweet Pea'). She is filled with entitlement and thrives on her power over others, not hesitating to use Narvel for more than his gardening skills. In fact, his past likely provides quite an enticement for her. Ms. Haverhill soon charges Narvel with taking her estranged and off-track great-niece Maya (Quintessa Swindell, BLACK ADAM, 2022) under his wing and teaching her the profession of gardening. This creates the second and third of the three relationships at play in the film. Narvel and Maya hit it off, as her intelligence and work ethic win him over. However, things aren't as smooth between Maya and Ms. Haverhill. Their first chat, though long delayed, epitomizes the awkwardness prevalent throughout the film.

Adding complexity to the story is Maya's personal life which brings a couple of drug dealers to the forefront. It's this development that uncovers the past Narvel has worked so hard to cover up. After a meeting with his Witness Protection contact (Esai Morales), Narvel begins his process of 'saving' Maya ... a clear attempt at redemption from his past life, and this is where her being bi-racial is a significant plot point.

The first two acts offer an unconventional form of entertainment. Edgerton nails the Narvel role with his Steven Wright delivery, slicked back hair, SLING BLADE wardrobe, and fastidious procession through the day. Even his posture and stride change along with his character's shifting outlook. The three relationships between the tormented characters weave quite the web, and as secrets are exposed, the dynamics of these relationships change as well. Schrader includes a few cringy lines of dialogue (perhaps by design?), and the drug dealers seem purposefully cartoonish, rather than intimidating or menacing. There are call-backs to earlier Schrader works, as it seems many of his characters over the years have battled personal demons, yet this one does offer a glimmer of optimism, which could be considered a step forward ... even if it's a bit awkward.

Opens in theaters on May 19, 2023.

I had just watched 'You Hurt My Feelings' before this one, a very poor effort at trying to make some emotions for its story, but then I stumbled upon this movie accidentally. Wow. What a difference it makes. Not only had it top-class acting in every department, but also a story so well told, I was constantly wondering where it was going. Will it be bloody as hell (what I expected), or something completely different? Real emotions ran deep in this movie, never over-explained any of them at all. The direction is spot-on, obviously, as so the score and editing. It has been simply the best effort about human emotions since I saw 'Fathers and Daughters' back in 2015.