Hayek can’t hit the ac­tion mark

Rutherglen Reformer - - The Ticket -

an over-the-top cen­tral idea and plot, the writ­ing duo stretch cred­i­bil­ity to painstak­ingly lu­di­crous lev­els, not least Everly’s de­ci­sion to bring her lit­tle daugh­ter into this type of car­nage.

Lynch and Han­non also can’t seem to set­tle on a tone. One minute we’re “treated” to a comedic clean-up se­quence, the next watch­ing some­one be­ing tor­tured with sul­phuric acid.

For­tu­nately, though, the di­rec­tor uses sev­eral cre­ative flour­ishes to make the most of his lim­ited lo­ca­tions. Track­ing and high an­gle cam­era shots, CCTV, quick cuts and a first­per­son video game shoot ’em-up-style killing spree all point to the po­ten­tial for big­ger and bet­ter things for Lynch go­ing for­ward.

As lu­di­crous as many of them are, Lynch also has an eye for an in­ven­tive kill and bizarre as­sas­sins – in­clud­ing a feral caged mad­man and de­mented Geishas – as Everly racks up a higher body count than an above av­er­age day at the of­fice for Jason Voorhees or Michael My­ers. It’s a good job, too, be­cause lit­tle else would make Hayek’s hero­ine stand out. She may look the part shoot­ing up a gang of thugs in her night­dress, but Hayek’s at­tempts at wise­cracks fail mis­er­ably and be­yond her im­pres­sive phys­i­cal­ity there’s lit­tle to make her ap­peal.

Lynch fails to end things with a bom­bas­tic enough bang as well, with the weak cli­max feel­ing rather tame com­pared with what’s gone be­fore.

Too mean-spir­ited to class as tongue-in cheek and ex­ploita­tive to the max, Everly takes a promis­ing set-up and bogs it down with stu­pid­ity.

Hav­ing a blast Salma Hayek gets into a fiery mood

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