The LEGO Movie 2: The Second Part
The Walking Dead
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Gentle, deeply felt, and strikingly original, For Those in Peril serves as a powerful calling card for first-time writer-director Paul Wright.
All Critics (23)
| Top Critics (6)
| Fresh (20)
| Rotten (3)
The film's finale is wild and daring and so perfectly executed that it marks Wright as one of the film year's most audacious new voices.
The haunting and powerful psychodrama "For Those in Peril" marks an auspicious feature debut for its visionary writer-director, Paul Wright.
Wright's strongest achievement here is an evocative depiction of place, where young teens flee from adult supervision and danger lies in wait.
For Those in Peril is a strikingly original feature debut from the 31-year-old Scottish writer-director Paul Wright that resists simple categorization.
As a portrait of encroaching mental illness, For Those in Peril works superbly.
This is a striking film from a valuable new talent.
For Those in Peril isn't afraid to take risks and is full of ingenuity, but at its core is an emotive piece about overcoming a death in the family.
There's an overuse of Super-8 flashbacks, too many broody close-ups, an abundance of inorganic colour-coded mood scenes, and a predictable late detour into horror mode.
The dialogue was rather unconventional as well- at times, Peril feels as if it's packaged like a news story... It's different, but it works well with this type of film.
There are certainly a lot of good things going on in For Those In Peril, but in the end its ambition out-weighs its artistic impact.
For Those in Peril smells as if it has been dragged from the briny deep to receive only superficial hosing down before being dumped in unsuspecting cinemas.
A full week after first viewing, I find myself still sifting through montage images that linger in the mind like a half-remembered dream.
There's no way a debut has any right to be this good in nearly every respect. The visceral direction, cinematography, editing and sound design all reminded me of Shane Carruth's 'Upstream Color'. This has a lot more menace to it. Paul Wright takes you inside the head-space of an outsider who is suddenly even more so, coping with loss in an increasingly self-destructive way.
The surrealism of marching in a parade as Death, or igniting that red flare in the room are burned into my mind in vivid detail.
The ending. It can be looked at in many ways. To me, it's an afterlife of sorts, where the boy enters the beast after he has lost (through death, being separated when sent to a mental home, a lost chance of love) everyone to be reunited with them, mirroring the fable we hear.
It's the kind of emotionally rewarding, yet ambiguous ending that screams "FUCK YEAH!" I had the same reaction to 'Take Shelter'. I absolutely adored it.
Haunting, assured filmmaking.
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