In Intrusion, a fantastic new thriller on Netflix that struggles to maintain. The excellent forward thrust it built in its first half, there are twists and turns with sheer intensity. He didn’t say hello for an hour and a half, but he must have wandered the streets that he could have easily avoided.
Frida Pinto and Logan Marshall-Green play two yuppies named Mira and Henry.
Early on, we were told that they had just moved into a sprawling mansion. Which spread across central Texas to escape the Boston Rat Race. But we were never told how to buy such spectacular accommodation.
The action begins when their house is split into one night while on a date. Red flag visible. For the starters, despite of spending millions of dollars on the house, Henry neglected to install an alarm system.
Still curious, Mira didn’t bother asking why. Intrusion is more than just a thriller for a home invasion. It’s a relationship drama hiding behind a balaclava. The breakup happened early, but one can feel the positive effect on the couple’s 12-year marriage throughout the film.
Why had Myra never asked Henry where the money had come from? Why did he think he was OK? The Intrusion raises some very relevant questions about long-term relationships and the roles some women automatically take on in them. Still, they’re drastically haunted from the centre. When the missing male subplot. Which is introduced into the drama for purely plot reasons.
How brave it would be if director Adam Salky adopts Malcolm and Marie’s approach to storytelling.
For example, Mira and Henry turn around when they have to reveal each other’s long-hidden secrets. Writer Chris Sparling really knows a thing or two very well about the claustrophobic thrillers; he wrote the great father of all, Buried. Which is a fantastic reminder (for those looking for one) of Ryan Reynolds’ bold early career.
Penetration isn’t limited to squares, but, like Buried. Primarily to characters confined to their immediate surroundings. The desert town where Mira is located is much bigger than the coffin. Where Reynolds’ character traps in Pogreban. But it is as sad as their marriage.
Mira is unaware of this but is trapped in a toxic relationship. Based solely on guilt and manipulation. Henry regularly reminds him of how he helped him get back on his feet.
After being diagnosed with cancer a few years ago. He took her to the bathroom, she said; she stood beside him when the depression came. And he nodded, forever indebted to his generosity.
Behind the attributes of the B-movie, which the film takes.
With all its heart is the theme of emancipation and a spirit of survival. I want to spend more time without unnecessary spooky jumps and unexpected detours from Salky to filthy terrain. Both actors are certainly quite skilled as dramatic actors. Though this isn’t the first time Marshall-Green has appeared in a strange thriller confined to one house.
He is completely unrecognizable here, which significantly undermines the expectations of the audience. I can’t really remember the last time he played a clean guy.
But he still has that psycho American aura to himself. You can never be sure about Logan Marshall-Green; he is an actor that makes it almost impossible not to look over his shoulder. It’s an exciting position to be in the audience, especially in the image genre.
But the writing must match the actors’ skills; he must be intelligent and alert, always one step ahead of the audience. This rarely happens with intrusions. Chances are, you know what’s around the corner before the first-floor creaks. Movies are watching you, and it’s only a matter of time before you wait to catch up.