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Review: Dutch Crime Thriller 'Black Out' For People Who Liked 'The Hangover III' But Wish It Had More Ultraviolence

  • By Gabe Toro
  • |
  • February 19, 2014 5:46 PM
  • |
Black Out
Are we destined to keep making copies of copies of copies? And is this always going to make us all feel old? The knee-jerk temptation is to react to Arne Toonen’s “Black Out” in much the same way naysayers treated Guy Ritchie’s crime pictures of the late nineties for jacking an aesthetic (specifically Tarantino’s): disdain for a naked reappropriation of an aesthetic that already borrowed from earlier trends and ideas. Ritchie has gone on to validate the supporters of those earlier films by broadening his aesthetic and assembling a tidy, respectable body of work, with few genuine standout pictures. Toonen, who seems a bit more desperate in his naked theft and references, still can’t seem to shake his own crowd-pleasing tendencies. Ritchie wanted to stretch out his aesthetic. Toonen just wants you to laugh. Desperately.

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