In essence, Maxime Giroux’s “In Cold Light,” a French-Canadian filmmaker’s work, is hardly original when it comes to action-thrillers. It feels like every concept and visual has been copied and polished beyond recognition. Instead of a movie with a compelling narrative, it appears more like a collection of ideas, lacking substance. The film features a barrage of neon lights, dilapidated settings, gritty urban landscapes, and a protagonist (Maika Monroe) fleeing from drug lords. However engaging these elements might be initially, they can only hold one’s interest for a limited period.
It’s unfortunate because Monroe, famously known for her chilling performances in movies like “It Follows” and “Watcher,” is always a captivating sight when facing off against threatening pursuers. She skillfully brings her unique traits – her ability to convey deep emotions silently and a graceful demeanor – to the challenging role of “In Cold Light.” However, despite Monroe’s strong portrayal, which includes convincingly displaying her character’s struggles through realistic wounds and fatigue, the film fails to fully utilize the actor by providing a one-dimensional character and a script (penned by Patrick Whistler) that lacks depth. Instead, it seems to merely reference other films like “Sicario” and “Drive,” without adding much substance of its own.
In the gripping initial sequence of “In Cold Light,” Monroe portrays Ava, a character first introduced amidst a drug transaction gone horribly awry. As Ava flees through barren and industrial terrains, she’s eventually apprehended and incarcerated for two years. This gritty beginning sets the tone for the movie. In one scene, a parole officer questions Ava’s wish for freedom and solitude, arguing that these aspirations are inherently contradictory. However, to Ava, they aren’t conflicting ideals; instead, she sees them as intertwined – essentially, the same desire.
However, Ava is not destined for a peaceful life: this fact becomes apparent soon after working with her former rodeo star father Will (Oscar winner Troy Kotsur from “CODA”) at his stables. Their relationship, already strained by father-daughter issues exacerbated by Ava’s time in prison, deteriorates further when Ava tries to return to her old life in the drug underworld. Tragically, she witnesses the murder of her well-intentioned twin brother Tom (Jesse Irving) during a botched deal, and is then framed for the crime by a corrupt police force. With everyone turning against her, even her father, what choice does she have but to flee? Although Will appears oblivious to Tom’s involvement in the drug trade, Kotsur skillfully conveys moments of tender emotion as an older man who deserves better in life. Unfortunately, the script doesn’t provide much room for the actor to expand on these nuances.
During Ava’s escape, not much eventful occurs in “In Cold Light,” instead, it repeatedly challenges one’s patience by refusing to develop its situations or characters. However, there is a commendable exception when Ava finds herself caring for Tom’s abandoned baby. These segments bring a human touch to the narrative and stir our genuine empathy and kindness. A particularly effective scene is when Ava changes the baby’s diaper in the supermarket aisles, suggesting that “In Cold Light” could have been even more compelling with more character-focused scenes like this one.
However, in other scenes, this expansive neo-noir production tends to push a thrilling, real-time atmosphere quite forcefully, even hinting at accolades like being “edge-of-your-seat” and “heart-racing.” Unfortunately, it falls short of meeting these expectations, as the tension fails to escalate significantly. This could be because the characters, despite the film’s attempts, don’t evoke much empathy or concern. The worn-out design elements and repetitive synth music might lead one to believe they are watching an exhilarating, perilous story, but in reality, it feels rather ordinary.
The movie’s puzzling final move occurs when Ava encounters the mastermind behind it all – Claire, a crime boss portrayed by Helen Hunt, who unfortunately seems ill-suited for the role and is not given enough opportunities to shine (despite her impressive resume like “In Cold Light”). The two women converse about the current situation and reach an agreement, the particulars of which are confusing and ultimately insignificant. The ending that wraps up Ava’s story seems equally disjointed. This film appears more focused on creating a specific atmosphere rather than providing well-developed details. And after nearly 90 minutes, the atmosphere just doesn’t seem quite right.
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2025-06-11 05:46