She goes up Start with a difficult situation and ends to another, and the two hours between the two are anything but comfortable. In one way or another, however, the director Nick Rowland finds the dose of emotion which allows us to follow his young heroine in a very dark and adult journey without too much recourse to sentimentality. The operating time is undoubtedly a little too much, but it gives us time to breathe between the sets, and, more importantly, it allows the underlying emotion to infiltrate through very familiar genre. The pretty boy easily typascast Taron Egerton is partly to credit him, courageously playing a support role when he could have forced much more mileage very Impressive physical transformation. (A shaved head! ABS of bad streets! Tattoos of prison!) Wisely, however, he leaves the spotlight to his co-star Ana Sophia Heger, and their strange chemistry is the engine of the reflected neo-black of Rowland.
The opening scenes make a lot of heavy loads, because Polly (Heger), 11, remains outside a school in the New Mexico for her mother to arrive. After a long wait, a beaten car stops, with a sinister silhouette inside. Polly, however, knows who he is too well. “Are you supposed be here? She says. accelerator.
Nate the Espire at an indefinable motel, where Nate cuts and dyed her blonde with black hair (a little too professionally, perhaps), and schooling it in the art of self-defense with a baseball bat. He also warns him to seek “Lightning Blue” tattoos; A disposable line that will become much greater later. Watching television at the end of the evening, Polly sees the news, which reports the horrible homicide of a suburban couple: Polly’s mother and stepfather. Polly recognizes the crime scene and tries to call the police, but in one way or another, she cannot resolve to buy her own father (“he wouldn’t hurt me,” she sobbed).
As it would seem quite obvious to the casting of Egerton, Nate is Bon-Bad but not necessarily bad, and, for sin to go back to an underground pound pin, it is soon revealed that he and his extended family were green for execution by a zero ladle cartel. This is where the detective John Park (Rob Yang) comes into play; Park is on the track of Slabtown, “the largest methamphetamine laboratory in the Southwest”, and knows that the men behind him are, so far, untouchable. This is why, when Park catches Nate, he does not stop it. Instead, he concluded an agreement with him to enter this enemy territory. “It’s Troy,” he said. “I need a horse.”
Although it is clear enough about what is good and bad, She goes up is much more ambiguous about the morality of its characters, which – just like the impressive beginnings of Rowland Calm with horses – Climb a notch when Park mainly uses the Nate, now corners, as a human bait to attract superiors to slabtown. “You have done this,” says Park, “I’m just exploiting the situation.” (Which is true, but even so.) And there, at the heart of all this, is Polly, who obtains something of an intensive course in all the things that children should never see and, in a very For example memorable, does something that 99% of the films would never show them, never do (indication: this implies a loaded firearm).
Although this is found in a fairly traditional shooting, Rowland makes us guess who will survive and what will remain (the troubled report of the cops specific to dirty cops speaks directly of our time, which means that, for a while, it seems that something can happen). What is most interesting, however, is the effect that it has on Polly, when it is more and more attracted to her father’s chaotic life. The most brave sequence of the film sees Nate holding a gas station while Polly looks, horrified, when another customer releases a firearm.
But is there something under this horror? The title is alluding to him, and although the film satisfies as a side and bloody filming tournament, She goes up suggest that there could be a thrill by proxy to make sins of the father. In the end, Polly experienced her own version of terrifying but exhilarating roller coaster They live at nightBut, like a film by Lynne Ramsay, there will be no catharsis that awaits it when the smoke emerges. Instead, we wondered: how would a child come back from all this? Although smooth and suspense, this intelligent thriller is not afraid to face the impact of real violence: maybe she will not.
Title: She goes up
Director: Nick Rowland
Scriptwriters: Ben Collins and Luke Piotrowski, from Jordan Harper’s book
Casting: Taron Egerton, Ana Sophia Heger, Rob Yang, Odessa A’zion, David Lyons, John Carroll Lynch
Distributer: Lionsgate
Operating time: 2 hours
