Angelina Jolie is back on the big screen


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Natalia Efendieva

May 23, 2021 10:59 am

How successful is it?

One of the films that are now in theaters and which you can pay attention to is Taylor Sheridan’s film “Those Who Wish Me Death” with Angelina Jolie as a forest firefighter rescuing a teenager from the hands of bloodthirsty killers.

Hannah Faber watches from the fire tower all day long over the environs of the Montana National Reserve. She was brought here by an industrial psychological trauma: the heroine blames herself for the death of her colleagues while working as a rescuer in a parachute squad. One day she notices a frightened teenager to death, comes into contact with him and learns that Connor is trying to hide from the murderers of his father – an accountant who worked for the district attorney and dug up incredible dirt on terribly important people. Hannah decides to help the boy, and the top-class killers want to smoke them out of the forest, setting it on fire.

All components of success

The new film by Taylor Sheridan, the showrunner of the Yellowstone series and the author of the neo-Western Wind River, should be Angelina Jolie’s spectacular return to the big screen. But he didn’t. Although all the components of success seem to be present: a brutally melodramatic story about tough men and brave women, one of whom is six months pregnant (which does not prevent her from fighting killers, riding a horse and shooting well), an Oscar-winning actress in one of the main roles. And also luxuriously filmed forest landscapes – at the end, blazing with might and main.

But, unlike Elizabeth Olsen, who played an FBI agent in “River”, Jolie does not allow her to believe that her character was in the wilderness of Montana voluntarily, and not because of someone else’s will. She, of course, whips beer from a bottle, fends off the dirty jokes of her colleagues and, in principle, tries to be her boyfriend. But in fact, Hannah is just waiting for the moment to once again try to commit suicide in the ways available to her (for example, to jump with a parachute from a madly rushing truck). And again, unsuccessful.

An inglorious end

In previous works of Sheridan – both directing and screening – the action was concentrated around one or two heroes, whose perturbations had to be watched. In Deathwishing, what is happening on the screen is constantly defocused: sometimes we are shown a killer duet at work, then Hannah sobbing into the phone of her ex, then the ex-local sheriff with a lively pregnant (the same) wife, then Connor and his father.

All the lines converge at one point somewhere in the middle of the film, but by that time it becomes clear that Jolie, apart from melodrama and demonstration of physical capabilities (she runs, jumps and fights tirelessly), will not have time to give anything out.

The promising beginning of the confrontation between two superwomen, who naturally do not burn in fire and do not drown in water (there is nothing to say about a horse), and ruthless killers ends ingloriously for the latter: once they get into the forests of Montana, they inexplicably lose their effectiveness. And then it remains to wait for who will be the first and how to finish off his pursuer.

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