The revenge thriller has been made so much that most end up being too similar to the others we’ve seen. It’s true, at least on paper, that it’s easy to state the motivations of the protagonist so that the public understands what makes him act the way he does. It’s a different thing to achieve that it really comes to care beyond its specific capacity to make us have an entertaining time.
I’m very concerned that ‘Sweet Girl’, the new Netflix original that premieres on the platform this Friday, August 20, isn’t one of those exceptions. And the funny thing is that it’s not that it gets overly complicated, as the first minutes appropriately boost the lead duo’s motivation and end up being a slightly stimulating runner.
Momoa is convincing but the film is not very much
The presence of Jason Momoa is one of the main successes of ‘Sweet Girl’, because this film knows how to successfully transfer to the characters the image of a tough man but with a heart that the actor transmits in real life. It allowed his Ray Cooper to not just be a bag of revenge-seeking muscles, something that developed during the first few minutes of recording and is never completely forgotten.
Apart from that, Momoa is also involved in action scenes, where the big mistake is to once again rely on editing work to confuse the visual frenzy with the show. The shot changes too much, as well as anything that tends to happen at night or dark scenes that lessen the impact of debuting Brian Andrew Mendoza’s behind-the-camera work.
It’s a shame that this happened, as there is generally a certain pulse in Mendoza’s performances, but the burden was quite frightening, especially as the minutes passed and the action grew in importance, complicating the course of the game. plot to the point of entrusting everything to script decisions that will make many viewers quit ‘Sweet Girl’.
‘Cute Girl’ light and shadow
At that point, the credibility of ‘Sweet Girl’ soared into the air without the film actually getting anything in return. It’s clear that it’s trying to give the story a greater emotional dimension, but there are certain details that are important to measure very well or you risk drowning everything out. I don’t think it will happen in the case at hand, but getting it all done is still as important to me as it was before.
And it’s a shame it did, because along the way there are interesting notes, from early attempts at a critique of the pharmaceutical industry’s greed, something well-personalized in Justin Bartha’s effective character, to specific situations like that. restaurant with a hitman played by Manuel García Rulfo. But the tendency is to get too complicated, too often to fall too shallow.
to ‘The Fugitive’, but a libretto signed by Philip Eisner, Gregg Hurwitz, and Will Staples wanted to cram too much stuff without worrying too much about how to do it. And it didn’t work.
In her favor, she also has Isabela Merced solvent both on the most emotional side of the story and when it comes to showing her physical abilities. It’s true that there isn’t enough chemistry with Momoa for the most dramatic aspects of the function to acquire the necessary entities, but at least I’m clear that it’s not their fault.
‘Sweet Girl’ doesn’t get off to a bad start despite the fact that it’s a bit conventional in everything it evokes, but little by little it complicates things unnecessarily and coincidentally belies some not-so-inspired action scenes. The efforts of the two protagonists improve the final result somewhat, but I wouldn’t recommend it. There are too many titles in a somewhat better general line.