Revenge - Movie Reviews - Rotten Tomatoes

Revenge Reviews

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February 23, 2019
The rape revenge sub-genre is often used merely for sleaze, and in this day and age it's a trope we should have left behind long ago. But then here comes Revenge, a biting and relentless retort to the concept that indulges in its B movie inspirations whilst setting itself apart with a definitively feminist point-of-view. Coralie Fargeat in her feature debut directs with style and grit, painting a visceral picture that never shies away from being bloody or racy, but manages to avoid falling into exploitation. Its premise is simple and the characters basic, but they all serve the greater purpose of genre critique, and that simplicity allows the film shine with some of the best non-verbal storytelling in recent memory. Matilda Lutz's lead performance is a star-making turn, and her character of Jen has the potential to become a cult icon for female lovers of action and horror cinema; she truly is the ultimate final girl.
February 21, 2019
Really ? Loose 4 gallons of blood and your fine? A branch goes through you and you just burn your skin and your healed ?wtf at least try to be real. So So Stupid !
½ February 17, 2019
"""""exploitation movie"""""
February 16, 2019
A bit far fetched but overall a good film.
½ February 13, 2019
dumb gore, pointless scenes of violence, full of retarded plot twists (she is impaled after a fall from the cliff, next thing she does she sets the fire under herself and magically fells on the ground - how? why? nobody knows) - Then she teleports herself around the area - she can't see a man in the open road in front of her and walks into a trap he set up for her (somehow, defying the laws of physics I guess)...
Low quality entertainment only for half-witted sociopaths.
February 9, 2019
Gory, but brilliant (unless you're an insecure right-wing male)

Very much in the vein of films such as Sam Peckingpah's Strawdogs (1971) and Meir Zarchi's I Spit On Your Grave (1978), Revenge is an insanely gory rape-revenge thriller. In her feature debut, writer/director Coralie Fargeat displays an astonishing visual panache as she reappropriates this exploitative sub-genre for the post #MeToo era. From the expansive Ford-esque vistas of the desert to the claustrophobic and labyrinthine finale, her visual language is as dexterous and thematically justified as one would expect from a master stylist such as Michael Mann. The film is very much about the dangers and darker implications of the male gaze, and the way Fargeat's constantly moving camera lingers on actress Matilda Lutz' half-naked body is deeply unsettling, challenging the audience to look at her in the same way the male characters do, before turning this notion on its head in the second half of the film. If you can ignore the plot contrivances, and stomach the gore, you will find a socially relevant film that is as auspicious a debut as you're likely to see all year.
February 8, 2019
i think that this horror movie is a bit more violence than the other horror films but at least is a good thriller with a very interesting plot.
February 4, 2019
Badass, gory, stunning revenge flick. While it doesn't reinvent the genre by any means, its bare-bones story remains utterly captivating. Accompanied as it is with some outstanding editing and above par cinematography, the tension mounts and ebbs in a satisfying, bloody roller coaster of vengeance. Although nearly wordless after the first third of the movie, Matilda Lutz carries herself admirably through any number of death defying encounters to convey a feminist message in a way that never feels overhanded or on-the-nose, a feat many other movies with an identical plot synopsis have failed to achieve. The casting was also on point throughout as even when each characters' physiques adhere perfectly to the archetypal villain and damsel roles, the actors really flesh out the details of these monsters and our beloved heroine steals the show with her determination and moxy. A fierce calling card for director Coralie Fargeat, looking forward to more of her work.
½ February 2, 2019
This is so stupid. How much blood do they have?
February 2, 2019
a hot chick, great cinematography, over the top ultra violence and buckets of blood. what more can you want?
February 1, 2019
Good: Nice visuals.
Bad: This is bad even by campy revenge B-movie standards.
Ugly: Another case of critics liking it because of social justice reasons and not because the movie is actually good. Anytime you hear a critic tout a movie in 2018 because of strong females roles or diversity, you must question the integrity of the critic.
January 31, 2019
A boring revenge flick that is devoid of any creativity and respect for its audience's intelligence.
½ January 29, 2019
With her stylish and bloody rape-revenge thriller, French first-timer Coralie Fargeat turns a disputable subgenre upside down.
January 23, 2019
Unwatchable movie.
It's feminist, it's obvious, it's so terrible. Man, this movie getting such a high score from the critics looks like joke.
January 21, 2019
Impressive and explicit. This is a very angry film, rightfully and understandably so. The story is simple and the characters are fairly thin but the depth of the symbolism and craft behind delivering such a strong and neuonced message with a brutally bloody brush is incredible. The only rape revenge movie to justify the genre.
January 18, 2019
Rape and revenge is a taboo topic that's somehow Coralie Fargeat manage to deal with and make a gruesome movie about it.
½ January 13, 2019
This is a beautifully well-made revenge story, it offers nonstop thrill with its gonzo influenced violence as we witness beautiful chaos unfolds in front of our eyes, from sequence to sequence it constantly displays a great amount of technical style from the chases to the dialogues all the way to gory details, it spares us nothing and leaves nothing to our imagination, Indie films like these often go under the radar but this one should be praised, it delivers on so many levels.
I absolutely loved every second of it, Quentin Tarantino will be proud of this.
Super Reviewer
½ January 6, 2019
We need to talk about this movie's star, Matilda Lutz. In my review of Rings, a terrible soft reboot of the Ring franchise, I mentioned that Matlida Lutz gave one of the worst lead performances I've seen in a long time and I stand by that, she was fucking awful in that movie. But I also pondered as to whether or not that was because the cuts that were chosen weren't exactly the best. Regardless, I don't think that, if you're a good actor, you're gonna suck in one take and be good in the other, unless you purposely try to suck in one of those takes. I mentioned the fact that she starred in this movie, which has been critically acclaimed, and that I reserved judgement on Matilda's talents, or lack thereof, until I saw this movie. So, can you guess which movie I saw yesterday??? I mean, you must be really dumb if you can't figure it out. Anyway, in all honesty, I didn't get much from Matilda out of this movie. Don't misunderstand me, however, she is tremendous at the physicality of this role, and it is one that is incredibly demanding, what I mean is in terms of her delivery of lines. The reason I say this is that Matilda, really, doesn't have that many lines in this movie, so you can't get a sense of how good she is or not at that particular aspect of the game. Overall, however, in the physical side of things, she is tremendous. She is put through quite the ordeal in this movie and Matilda is more than up to the task. With that said, as always, I've always believed that rape is a really tricky subject to explore in films. In many ways, however, I think it's far more difficult to explore in films outside of the exploitation genre, like dramas. You have to walk a fine line between being, umm, well, exploitative and being sensitive and that's a fine line that most movies are not able to walk. The example of Don't Cry, Mommy (a terrible South Korean movie) comes to mind immediately. That movie was so exploitative that, really, the rape was nothing more a way to drive the narrative forward. The person that was raped wasn't really a character, she was just a device to get that girl's mother to take matters into her own hands. However there are movies like Hope (I believe that's what it's called), another South Korean movie, where the rape (of a little girl) is used to tell a story about a father regaining his daughter's trust. There's some melodramatics in this movie as well, but they're not as overbearing as it was in Don't Cry, Mommy. Again, the goal for Hope was to tell that story of the parents rebuilding their daughter's life from scratch and a father desperately hopeful to reconnect with his daughter after a traumatic experience. In exploitation movies, however, that all goes out the window. This, of course, falls under the exploitation genre, but, even then, the film sort of uses the rape as the jumping off point for everything else the movie has to offer. Does that work as a plot device? I guess it does, but it doesn't feel tasteless, which is honestly surprising. Neither here nor there, I suppose. The story sees Jennifer is in a relationship with a married man. They go to his secluded house in the desert for an annual hunting trip. Richard's (the married man) two buddies show up a day before they're supposed to. Long story short, one of Richard's buddies, Stan, ends up raping Jennifer after she rebuffed his advances since, the night prior, Stan felt that she had come on to her due to a provocative dance. There we go with that 'logic' again. Dimitri, the other guy, walks in, watches the rape for a few seconds and the leaves without doing anything. Richard arrives later and he tries to console Jennifer while, at the same time, blaming her for the assault as she is 'too beautiful to resist', I think is what he said. I almost facepalmed my hand through my face. Jennifer runs away after Richard slaps her when she threatened to expose him to his wife, reaching the edge of this cliff. Richard reassures her that everything will be fine, he pretends to call the helicopter that dropped them off to pick her up. Of course, he was lying, he pushes Jen off the cliff and she ends up being impaled on this tree at the bottom. Richard is hopeful that Jen is dead, so they could cover up both the rape and the murder after they're done hunting. You could say that this is when the movie really begins, as Jen is determined to hunt these fuckers down and, hey, who can blame her??? The thing with this type of exploitation movie, that still has some very timely themes (particularly with some morons blaming rape victims), is that it needs to be quite visceral in its depiction of the violence the victim employs on those who assaulted her. Because, otherwise, it feels like somewhat of a ripoff. This movie, however, is anything but a ripoff. The violence, all around, Jen included, is quite extreme. But, at least in the case of Jen hunting down and murdering those that were responsible for her current situation, it needed to be that way, because you need to feel that sense of satisfaction that Jen is meant to feel as she gets rid of the fuckers. If it's not brutal, it sort of feels like the bad guys got off easy. So props to the movie for not shying away and giving us that satisfying payoff to Jen's vengeance. The climactic act, with Jennifer finally going after Richard is tense and intensely gratifying. The thing about the movie is that it is quite artfully directed and the cinematography, with the harsh desert fully displayed, is phenomenal. This is very much an exploitation movie, but it's one arthouse sensibilities and a really cool synth score. With that said, however, it's not like this is a perfect movie. There was something keeping me from giving this the full four stars. I don't know what it was. I do think that there's some issues with the pacing that could have been ironed out. That's probably the only major issue I had. The film's first hour flies by, but it ends up dragging a bit after this point. I was also gonna point out that it was a very decidedly one-note movie, but I can't really complain about that. The film had a clear goal in mind and it worked steadfastly to achieve that goal. In spite of my issues, this is still a damn good movie and one that I would easily recommend, if you know what you're getting into and you're not squeamish.
½ January 6, 2019
This movie is absolute garbage. The term "plot holes" is an understatement, to say the least. Don't watch this movie, it makes no sense.
½ January 5, 2019
This movie is just plain awful... How it got a ninety something percent average from critics is a mystery to me.
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