Neil LaBute's 'Out of the Blue' is packed with unnatural dialogue and a nonsensical storyline that not even Diane Kruger can save. Our review:
As you watch Out of the Blue, it's easy to get lost in its missed potential. The problem is, once the cards are on the table and the credits roll, you realize that even though the erotic thriller had a clear path ahead of it, it simply decided to go nowhere.
COLLIDER VIDEO OF THE DAY Not that deciding to take it to the next level is a problem—a twist in common tropes is always welcome. And, in the beginning, the movie feels like a clever take on thriller stories, especially in the way it sometimes pokes fun at it. Often, title cards will appear on the screen to provide viewers with a sense of timeline – something that was more common with film noirs and Golden Age Hollywood whodunits.
The problem is, Out of the Blue never fully commits to the satire, and it doesn’t really go much further than playing with the title cards – unless you factor in Hank Azaria’s character’s obsession with dicks, but we’ll get to that. But Out of the Blue doesn’t let go of satire in order to focus on its own story: It just decides that we’ll spend most of its runtime watching Connor and Marilyn fall in love.
Out of the Blue is also not very interested in creating any stakes for a crime that comes up later in the movie. First, the movie treats the victim of the crime as a one-dimensional character—or rather, with no dimensions—since they only show up in one scene and barely say anything. Somehow, LaBute’s script fails to understand that the victim of the crime is a pretty important character.
France Dernières Nouvelles, France Actualités
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