Streaming giant Netflix returns to us with the bad luck of a villain, a gerontophile in his own right. That’s the challenge for Rosamund Pike, who stars in I Care a Lot, the new MCU (Monstrous Asshole Universe) film, starting with Gone Girl.

Some made their fortunes in trading in valuables, gems, gilding and rare minerals. Others prospered by providing their comrades with essential raw materials. Marla Grayson, she’s involved in traffic and parental exploitation. Thanks to ruthless legal tactics, he collects the property of the people whose legal guardians he restores, until the day he tries to rob an old woman linked to organized crime.

By revealing the plot and characters of the new film written and directed by J Blakeson, we are saying that men have time to digest Ridley Scott’s Cartel, as we discover the desire to confront the two forms of evil (passing white and gangsters), while questioning the protagonist’s place. on the scale of social predation. It will therefore be a question here to establish who is now ma’s main standard: the violent but ultimately conventional enough criminal, or the cynic who hijacked American liberalism to make it a pure deviance mechanism.

An idea is always fun, especially because it is realized here with pleasure and greed by the players who invest. Always snappy when she lends her features to monstrous characters, Rosamund Pike revels in the horrors she does, and is finally back in a role that deserves her worth since her baffling performance in Gone Girl.

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Meanwhile, Peter Dinklage, Dianne Wiest and Chris Messina also seemed to be having fun. Helped largely by the removed edits, they even managed to energize a number of chatty, overly functional sequences on paper.

With its poor faade spirit and technical mastery, I Care a Lot entertains effortlessly and from start to finish. Without danger, but also without genius, so much of this film seems to have been thought through to make it as generic and agreed upon as possible. From sour, over-colored photos that refuse to let any gray areas exist, through cropping, effective, but impersonal, you never feel that a writer is at the helm.

This lack of sensitivity, this invasive non-personality is coupled with a series of destructive flaws. The more the story progresses, the more it disconnects from its compelling social premise to simply recount the confrontation between two villains. And this confrontation doesn’t offer us anything we’ve never seen. Worse, he can’t take responsibility for the immoral adventures he promises himself, because by imitating L’Impasse and Layer Cake in his final third, the director is turning moralists on little feet. Therefore, it seems clear that despite having a certain knowledge, Blakeson impoverishes his subject more than treats it.