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'The White Lotus' Season 3, Episode 5 recap: Tim in the corner (of despair), finding his religion

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'The White Lotus' Season 3, Episode 5 recap: Tim in the corner (of despair), finding his religion

“The White Lotus,” Mike White’s black comedy anthology series, is back on HBO for a third season. Times staffers love an escape, but since we can’t take a trip to Thailand to stay at a luxury resort, the next best thing is to immerse ourselves in the new season. Follow along with us for each episode as we discuss theories, observations and our favorite moments leading up to the finale. (Read our recaps: Episode 1, Episode 2, Episode 3 and Episode 4.)

It’s a full moon over on “The White Lotus” and several characters are grappling with their awakening, spiritual or otherwise.

Things begin with Gaitok (Tayme Thapthimthong), who after frantically poring over security camera footage for the missing handgun, concludes it’s Tim (Jason Isaacs) who swiped it. But his attempts to confront Duke’s finest white collar bandit are fumbled — Gaitok leaves the security kiosk unattended (again) and gets distracted by Mook (Lalisa Manobal) as she performs a traditional dance. (Gaitok, sweetie, a promotion is never going to happen this way!) When he does approach Tim in the bathroom, Gaitok lacks the imposing demeanor to intimidate him into fessing up to the theft, let alone returning the gun.

Victoria (Parker Posey), on the other hand, is concerned with a bullet that’s been fired at dinner. Piper (Sarah Catherine Hook) finally tells her parents the real intention for the trip was to check out a Buddhist meditation center she plans to join for a year. Tim is in a fog of lorazepam and dread, so the news barely registers, but its a SOO-NAH-ME of emotions for Victoria, who, unlike her husband, can’t temper her reaction with pills. It leads to another Grade A unchristian-like meltdown from the matriarch who is convinced the center could be a sex cult — ala NXIVM — and is not impressed that the monk who runs it has authored books: “So, Charles Manson wrote books! Bill Clinton wrote books. The list goes on. Hillary Clinton wrote five books … Look at the Catholics! Organized religion and deviant sex can go hand in hand.”

The other Ratliff members — Saxon (Patrick Schwarzenegger) and the little magician (aka Lochy, played by Sam Nivola) — are chasing their own highs, with blender boy trying to hype his younger brother into some escapades with their female companions. Chloe tries to gauge Chelsea’s willingness to cheat on their respective bald(ing) white guys, but Chelsea scoffs at the idea. Chloe isn’t so opposed, even while eerily acknowledging: “Gary might kill me. I honestly think he’s capable of it.” The foursome wind up high on some happy pills that, before long, results in an incestuous smooch that seemingly leaves Lochy in a state of content and Saxon … well, it’s hard to ever know what’s going on in that head.

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As Chelsea processes the sibling make-out sesh, Rick (Walton Goggins) is in Bangkok on his quest to avenge his father’s murder. He first meets up with a mysterious pal (Sam Rockwell) — maybe its Frank? — for an incredibly head-spinning catch-up session that touches on his sobriety, sexuality and spirituality. It leaves Rick flummoxed but he also can’t dwell on it too long because he needs another favor from this nameless friend, who brought a duffle bag full of items (a gun, among its contents) at Rick’s request as he carries out his plan.

Elsewhere, seeking their own wild adventures far away from the water guns and AARP crowd, Jaclyn (Michelle Monaghan), Kate (Leslie Bibb) and Laurie (Carrie Coon) are on the loose with Val (Arnas Fedaravičius) and his Russian besties at a night club, making small talk about ballet and dead parents. After a good stretch of dancing and drinking, the Super Soaked Trio decide to head back to their villa. Jaclyn suggests the men join them, much to the dismay of our bob-haired Independent voter. Once the rollicking at their villa’s pool is over and everyone turns in for the night, Jaclyn reaches out to Val — despite her endless pushing for Laurie to pursue him — for a luxury resort booty call. Jaclyn’s not alone in her late night rendezvous. When Belinda (Natasha Rothwell) learns from hotel manager Fabian (Christian Friedel) that Greg/Gary (Jon Gries) has been inquiring about her, she worries she’s in danger. Pornchai (Dom Hetrakul) promises to keep her safe and lands in her bed in the process.

But distress was all Tim was experiencing in his corner of the White Lotus. Feeling the full weight of his situation, the former altar boy scrawls a short letter to his family — “I’m so sorry. I love you all.” — just before raising the handgun to his temple. But as a sleepy Victoria shuffles in, his plan is diverted. The episode closes out with Tim calling to a higher power: “Oh, please, God. Please. Tell me what to do.”

Now it’s time for Greg Braxton and Yvonne Villarreal, platinum-status members of “The White Lotus” frequent guest program, to break it all down. They’re joined by new charter member, Mary McNamara, who will ride out the rest of this season’s voyage.

Belinda (Natasha Rothwell) is on edge, but Pornchai comes to the rescue.

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(Fabio Lovino/HBO)

Who do we think is the corpse this week? Does the gun in Rick’s possession change things?

McNamara: There were a lot of seemingly random shots in the opening scene, far too many for one handgun so it is possible that Rick’s gun makes it back to the hotel. The corpse in question appears to have dark hair and be dressed in gray or light blue. Zion flees from it, so it’s not Belinda. Tim has been rocking a lot of pastels (Isaacs in crisp linen is a high point of the series) and there would be irony in him contemplating suicide only to die in another way. But now I very much fear that it’s Pornchai; Belinda deserves a kind lover but this series is not big on happy endings. Either way, my scene-one theory remains fixed: Somehow a monkey gets hold of a gun (so many random shots) and some bright person (Gaitok?) is trying to play cowboy and shoot it. Result: mayhem.

Braxton: Although I had previously speculated that Chelsea was doomed because she felt she had cheated death twice during this vacation, I’m going to take a knee on any further predictions for now. In the previous two seasons, the victims seem to have been people who had made very poor choices which put them on a path to destruction. And almost every character in this episode makes some very, very horrible choices, so the field is wide open. Karma is coming.

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Villarreal: I, too, have wondered if one of our monkey friends could be the gunslinger responsible for the shootout in the season’s opening scene. But I still think the floating corpse met death another way. I’m growing more suspicious of Saxon’s blender. Maybe someone whipped up a smoothie with the poisonous fruit to avoid detection? But I am also stuck on Victoria’s dependency on lorazepam and her mention of grand mal seizures. Could her withdrawal lead to her death?

Do you think Tim would feel this doomed about his involvement in a white-collar crime in 2025? What kind of life could the Ratliffs set up in Thailand if they never went back home?

McNamara: The fact that he’s so rattled leads me to believe he does not regularly commit fraud — he does not appear well lawyered-up — so yeah, maybe. If this were not “The White Lotus,” I would say Tim, and potentially the whole family, would join Piper on her monastic quest. But it is, so at this point, I’m assuming that Tim will somehow get away with whatever he’s done and they’ll all return home. Including Piper.

Braxton: Tim hit bottom at hyper-speed. It’s only been what, a couple of days at a lavish resort, and he’s gone from agreeable man on vacation to drug addiction to putting a gun to his head?

Villarreal: After last week’s episode and Victoria’s observation that the yacht was full of scammers and tax cheats — as her husband sat next to her, no less — it certainly feels like Piper’s grand plan to live in Thailand is signaling an extended family stay. Saxon will adjust to life fine if his blender is nearby. And Lochlan will be fine if Saxon is nearby. (Please don’t mistake my sarcasm for encouraging incest!) Tim can be some kind of boatie. Victoria would need to get her prescription refilled to keep her functioning in this setting for a prolonged time. I would demand a spin-off to see how this plays out. What if Victoria reaches enlightenment and helps that monk write a book?

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What’s your read on Jaclyn’s behavior? Is it a midlife crisis?

McNamara: I don’t love the “forty-something actress needs to prove she’s still hot” storyline (possibly because we OD’d on it with “The Substance”), but I do like the simmering high-school tensions between the three women because high school is forever. One of my favorite images from this episode is Kate, sober in her jammies but trying to appear game while Jaclyn and Laurie cavort with the Russians before finally calling “bedtime.” I feel you, Kate!

Braxton: Both Jaclyn and Chelsea seem to crave validation from men for them to feel good about themselves, which is not terribly progressive. Chelsea is miserable without Rick, who is not nice to her, while Jaclyn is frustrated that she can’t get a call back from her significant other. They could both use a talking-to from Piper, who is trying to get to the essence of her identity without male validation. But in the end, what happens at the White Lotus stays at the White Lotus.

Villarreal: As someone who feels like I’ve been slapped by Mother Time when I learn someone was born in the 2000s, I get it. And, sure, the pressure is heightened for someone like Jaclyn because her job as an actress is to look young and glamorous. Plus, her younger hot husband is leaving her on read. It’s just funny to me that the woman who is lugging a ludicrously capacious Erewhon tote bag — by the way, that detail led me down this rabbit hole — to a nightclub is spiraling this much on vacation over that.

A woman with blonde wavy hair looks over her shoulder on the dancefloor of a club.

Jaclyn (Michelle Monaghan) takes the party home from the club.

(Fabio Lovino/HBO)

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What do you make of the story Rick’s friend shared over chamomile tea? And how are you feeling about the addition of Rockwell to the cast?

McNamara: I have watched that scene like four times because it is such an off-the-chain exploration of privilege, not to mention addiction, and a master class in acting. Rockwell deserves an Emmy for best delivery of most bizarre over-drinks-catch-up in the history of television. Here’s hoping his character makes his way to the White Lotus (to maybe hook up with real-life wife Bibb?), in which case, I might have to ditch my “monkey with a gun” theory. Or not.

Braxton: Off the chain? In a season that has already highlighted jaw-dropping moments like Tim’s accidental “package” reveal, that whole sequence seemed so abruptly dark and extreme. I felt I was watching a different show. Hopefully there is a point to that interaction other than shock value and Rick reacting in slack-jawed silence. If I had been reconnecting over drinks with a friend I hadn’t seen in awhile, and he lays down a story out of the blue with the detail of how he’s hiring a strange woman watch him have drug-fueled bizarro sex, punctuated with the line, “I am her, and I’m f— me,” I would not be happy having that visual in my head. Not your usual, “I’m having a drink with the guys.” At that point, it would have been “Waiter, check!” or “Could I have another, and make it a double? Forget that. Just bring the bottle!” It’s a lot.

Villarreal: I immediately messaged our editor and told her it felt like I watched an entire season of “Severance” in that one scene. “White Lotus” is all about exaggerated stereotypes and cultural conflicts and prejudices. And this reveal from Rockwell’s character, which touched on his experience with kathoey, Thailand’s ladyboys, who have long been part of the country’s cultural landscape, as a privileged westerner grappling with existential sexual curiosity and identity (or is he?) left a striking impression — as it was undoubtedly meant to do. The pairing of Rockwell and Goggins, simply sipping on scotch and chamomile tea as it all unfolded, was stunning to watch.

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Do you think Chloe knows more than we suspect about Greg/Gary? And why would Fabian downplay Belinda’s concerns about him?

McNamara: Well, she obviously knows enough to be a bit afraid of him, but not enough to, you know, get the hell out. Fabian remains a conundrum — is he just a “don’t rock the boat” ladder-climber or is it more sinister? I still find it hard to believe that no one at this White Lotus knows about Tanya’s death, or Gary’s potential involvement. I feel like there would have been a corporate seminar or at least a memo.

Braxton: I’m still trying to figure out why Chloe and Gary/Greg are hanging out at the White Lotus when he has a fabulous house? And why the massive yacht since they apparently have no one to hang out with other than strangers from the resort. As for Fabian, he does not strike me as the sharpest knife in the drawer. And is Belinda really that scared of Gary/Greg, or did she just want to find a clever excuse to get Pornchai into bed with her?

Villarreal: Greg, to your point, I feel like Greg/Gary may be some sort of secret investor in the White Lotus — because you’ll remember when that one retiree that repulsed Jaclyn at the other pool, she claimed she couldn’t get access to the White Lotus pool because she wasn’t a guest. If Gary/Greg isn’t a guest either, there has to be a reason they let him in … and maybe why Fabian is reluctant to assist Belinda in her suspicions about him? Or maybe he’s been given consolation vouchers after the death of Tanya? I don’t know how much Chloe knows about Greg/Gary’s past misdeeds, but I wonder if she’s clued in on his current plan and that’s where this awareness comes from? Are they scoping out the place, with Chloe always there to figure out its weak spots (Gaitok!) so they know where to make their grand move? It’s really getting hard carrying all these questions in my brain.

Is Gaitok more likely to get a promotion, land a date with Mook or die?

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McNamara: Gaitok is absolutely the worst security guard ever. Despite the earlier robbery, he repeatedly abandons his post, not to mention leaving a loaded handgun out in the open. And then, when Tim stonewalls him about stealing a gun, Gaitok doesn’t respond with the obvious “dude, there’s video.” He just backs off. I mean, come on. Does he want blood on his hands? He doesn’t deserve any of these things but since “The White Lotus” is more about underlining injustice than resolving it, he might wind up achieving all three.

Braxton: Gaitok will wind up alone and working at the snake shop, driving snake-bitten customers to the hospital.

Villarreal: I need Gaitok to watch “Paul Blart: Mall Cop” to hype himself up in this role. The promotion will never happen. I can see him landing a date with Mook, only because it’ll be part of whatever grand plan she may be involved in. Because of the lack of screen time for Manobal, the Blackpink K-Pop singer and one of the most famous people in the world, it must mean there’s something up her sleeve that will reveal itself soon enough.

Two young men stand with small buckets on their wrists and smile at one another.

The Ratliff brothers (Sam Nivola, Patrick Schwarzenegger) get a little too close for comfort.

(Fabio Lovino/HBO)

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Do you think the Internet will be OK after the brother smooch?

McNamara: Um, no. The ick factor between the siblings has been pretty high already. It’s easy to hate Saxon and love Loch but something about their opposing swagger and innocence spells trauma to me. I’d say everyone needs to stay away from Chloe, who clearly thrives on stirring up trouble, but it’s obviously too late.

Braxton: It was a riff on “Challengers.” Almost expected Zendaya to show up.

Villarreal: I’m scared and I’m scarred.

Who gets your Best Facial Expression award this week?

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McNamara: Rick, during his friend’s insane sexual identity story. Frozen panic struggling with non-judgmental empathy. I would give anything to see all the takes from that scene.

Braxton: Jaclyn’s wide-eyed “I just hit the lottery” amazement lying in bed after Val unveils his six-pack abs.

Villarreal: I’m with Mary. I felt like I was looking in the mirror when the camera panned to the evolution of Rick’s reactions to his friend’s story. The shift in his delivery of “really?” over a five-second span was perfection.

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‘Salvable’ Review: Toby Kebbell and Shia LaBeouf in a Boxing Drama That Transcends Its Familiarity

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‘Salvable’ Review: Toby Kebbell and Shia LaBeouf in a Boxing Drama That Transcends Its Familiarity

At this point, the prospect of watching a film about an aging boxer whose life has hit the skids sounds as appealing as getting into the ring with Oleksandr Usyk. It’s the sort of well-trod cinematic territory that feels overly familiar, and the title, Salvable, does not exactly inspire hope. Fortunately, co-directors Bjorn Franklin and Johnny Marchetta’s debut feature proves better than its synopsis suggests. While the film doesn’t chart any particularly new territory, it benefits greatly from Franklin’s subtle screenplay and performances infusing it with emotional power that sneaks up on you.

The sort of gritty, realistic drama that frequently emerged from England in the early ‘60s, the story set in Wales revolves around Sal (Toby Kebbell, the film’s real star, despite Shia LaBeouf’s prominence in the marketing), whose successful boxing days are well behind him. Although he still trains at night under the watchful tutelage of his old trainer Welly (James Cosmo), his days are spent working at a nursing home, where his gently compassionate treatment of its elderly residents speaks volumes about his character.

Salvable

The Bottom Line

Punches above its weight.

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Release date: Friday, May 2
Cast: Shia LaBeouf, Toby Kebbell, Michael Socha, James Cosmo, Kila Lord Cassidy, Elaine Cassidy, Aiysha Hart, Nell Hudson, Barry Ward
Directors: Bjorn Franklin, Johnny Marchetta
Screenplay: Bjorn Franklin

Rated R,
1 hour 41 minutes

Living in a trailer parked in a field and reduced to having sex in his car with his girlfriend, the divorced Sal has a difficult relationship with his teenage daughter Molly (Kila Lord Cassidy), who’s still angry over his previous neglect. His bitter ex-wife (Elaine Cassidy) won’t let him see Molly outside of specified times, and his legal efforts to get joint custody are rejected. Things go from bad to worse when he loses his job at the nursing home after having to leave suddenly to deal with a school emergency involving Molly.

Films with this sort of subject matter often feature a character who’s a bad influence. In this case, it’s Sal’s old friend Vince (LaBeouf), with whom he has a checkered past. Vince, whose propensity for troublemaking is instantly signaled by his bleach blond dye-job, has just been released from prison. He resumes his former gig of organizing underground fights in which Sal, in desperate need of money, agrees to participate. But it doesn’t go well when Sal forfeits a bout rather than seriously injure his clearly inferior opponent.

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“I’d have killed him!” he tells the frustrated Vince.

Sal attempts to resume boxing and reunite with Welly for “one last dance,” as the veteran trainer calls it. But he blows off the scheduled bout to join Vince in an ill-advised criminal venture that has fateful consequences.

The plot, as you can see, feels standard-issue. But it plays much better than that, thanks to incisive writing that elevates the proceedings beyond predictability. Sal’s relationship with his daughter proves more complex than it initially appears, especially in the quiet aftermath of a beautifully written scene in which he implores her school principal, an old friend, not to punish her for a transgression. And Vince emerges as more than a standard villain, demonstrating a genuine love for Sal that ultimately results in him making a tremendous sacrifice. LaBeouf, whose tabloid exploits have come to overshadow his talents, delivers a quietly commanding performance.

But it’s Kebbell — his extensive screen credits include Control, Dawn of the Planet of the Apes, and Kong: Skull Island — who gives Salvable heart and soul. Never succumbing to the sort of histrionics to which a lesser actor might have resorted, he makes us care deeply about his troubled character, a man who keeps getting in his own way. His fine performance, and the atmospheric lensing of the Welsh locations, make the movie more than salvable.  

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Chubby and Cyndi will soon join the rock hall of fame, but Phish will have to wait

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Chubby and Cyndi will soon join the rock hall of fame, but Phish will have to wait

The rock hall of fame’s newest list of inductees would make for one crazy playlist.

Cyndi Lauper and Joe Cocker? The White Stripes and Chubby Checker? Those performers and more were announced Monday as the hall’s Class of 2025 by the Rock & Roll Hall of Fame Foundation, which will honor them at a ceremony in November.

Bad Company, Outkast and Soundgarden round out the list of performers, joined by Salt-N-Pepa and Warren Zevon, who are both getting the musical influence award. Producer-songwriter Thom Bell, keyboardist Nicky Hopkins and bassist Carol Kaye will be honored for their musical excellence — Kaye was part of thousands of studio sessions. And music executive Lenny Waronker will be recognized with the lifetime achievement award for non-performers, named for rock hall co-founder Ahmet Ertegan, who also co-founded Atlantic Records.

To be considered for induction, a band or individual needs to have at least 25 years of commercial recording experience on their resume. Checker, Cocker, Outkast and Bad Company all got in this year on their first nomination, while the balance of the list had already been considered in the past.

“Each of these inductees created their own sound and attitude that had a profound impact on culture and helped to change the course of Rock & Roll forever,” Rock & Roll Hall of Fame chairman John Sykes said in a news release. “Their music gave a voice to generations and influenced countless artists that followed in their footsteps.”

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The ballot presented to voters in February also included Mariah Carey, Billy Idol, Joy Division/New Order, Maná, Oasis and Phish, who did not make the cut. The hall’s voter list comprises 1,200 artists, historians and music industry professionals.

Phish, unsurprisingly, won the fan balloting with almost 330,000 votes, Billboard reported last week, but the first-time nominees will have to wait at least another year to get into the hall of fame. Same for Billy Idol, who finished third with 260,000 fan votes. Bad Company, Lauper and Cocker made it in despite finishing second, fourth and fifth with fans, respectively.

Last year’s performer inductees were Mary J. Blige, Cher, the Dave Matthews Band, Foreigner, Peter Frampton, Kool & the Gang, Ozzy Osbourne and A Tribe Called Quest.

The Rock & Roll Hall of Fame induction ceremony will be held Nov. 8. It will stream live on Disney+ and a special will air on ABC on a date to be determined. Hulu subscribers can see that special the day after that broadcast.

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Bonjour Tristesse: Stilted Summertime Sadness (Early Review)

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Bonjour Tristesse: Stilted Summertime Sadness (Early Review)

As far as niche sub-genres are concerned, the “Summer When Everything Changed” film has certainly proved itself a reliable little lane for up-and-coming filmmakers to traverse, affording them the space to discover their own styles just as their subjects begin to discover themselves. Sometimes, the significant change depicted comes from a moment of subtly depicted life-altering trauma; sometimes it’s a moment of sexual awakening; oftentimes it’s both, but the power always comes from that synergy between art and artist—that feeling that the film exists as an inescapable piece of the filmmaker’s own past brought to the screen.

Perhaps this is where a film like Bonjour Tristesse deviates somewhat from expectations, for while the bones of this story could very well have spoken personally to debuting director (and writer) Durga Chew-Bose enough to send her towards this material in the first place, the material itself has been around since long before her own adolescent crossroads. An adaptation of a 1954 novel by Françoise Sagan—itself already adapted four years thereafter by none other than Otto Preminger—Chew-Bose’s film already has a steep hill to climb beyond the scope of her own memories (as is so often, though not always, the case with these films), and so the challenge becomes less one of recapturing subjectivity and more a challenge of creating it from scratch.

The subject of this well-worn tale of ennui is Cécile (McInerny), a teenage girl spending her summer in the south of France with her widowed father Raymond (Bang) and his French girlfriend Elsa (Nailila Harzoune). Cécile’s days are filled—as is the case with most films of this ilk—with meandering trips to the beach and cozy games of solitaire on the couch with a glass of wine, all in between courting her first love affair with a local boy, Cyril (Aliocha Schneider). It’s not until an old friend of the family, Anne (Sevigny), arrives to share in this vacation that the malaise of summertime gives way to more concentrated bouts of interpersonal horn-locking.

The first thing one may notice about Bonjour Tristesse, as is typically the case with films of this quietly crushing sabbatical nature—think Call Me By Your NameAftersunFalcon Lake—is a concentrated emphasis on atmosphere. These films understand that to communicate what is so inarticulable to the child’s mind means communicating it, oftentimes, without words at all, instead letting the blistering heat of the sun or the invasive hum of cicadas fill the dead air that so often accompanies stolen glances. Chew-Bose is definitely privy to this notion, as her film makes a concerted effort to shoot the seaside of the day and the lofty trees of the night with equal emphasis to the words shared in their space.

It’s a concept that Drew-Bose understands, but not one that she executes all that effectively. This is mainly because Bonjour Tristesse, for all its emphasis on what can be communicated without words, seems entirely determined to undermine that notion at every turn with an endless stream of stilted, overworked dialogue exchanges. Nearly every line in the film feels written as though it was thought-up with the expressed intention of becoming an out-of-context pull-quote for teenagers unwilling to sit through a film this sparse to begin with—“Be wrong sometimes… it’s less lonely,” or “I love this time of day; there is so much possibility before lunch”—which may be an effective tool to make some characters appear more vapid or constructed than others, but doesn’t really serve a film of this tone when everybody speaks that way.

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This may very well be a byproduct of the film’s literary origins—not only is Bonjour Tristesse based on a book, but Chew-Bose’s own prior artistic experience comes from writing a book compiled of essays—in which sensory experiences and complicated, contradictory thoughts must, by necessity, be expressed in words. If anything, though, this further emphasizes the challenge that comes with adaptation, and the laudable efforts of those who manage to adapt to the work to the silver screen and make that sensory experience more… well, sensory. Even the presence of Sevigny (in an ironic twist, an actress who made her bones on independent films becomes the most recognizable name in this one) does little to elevate the film, controlled as she may be in her grasp of the film’s stilted aura. Chew-Bose may very well have found something viscerally relatable in Sagan’s source material to warrant yet another adaptation, but rarely has the feeling of a warm summer day felt so foreign and frigid.

In the end, Bonjour Tristesse never quite lives up to its interest in harnessing the malaise of a quiet and confused summer, mostly due to its over-reliance on fatigued dialogue and thin characterization.

Score: 47/100

*still courtesy of Elevation Pictures*


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