Connor (Ray Nicholson) is a former convict on probation, and he’s trying to find his way back to normalcy. When on one of his many runs one day he meets the mysterious and beautiful Marilyn (Diane Kruger), seemingly Out of the Blue, she quickly transforms Connor’s life into something unexpected and wonderful. The two will engage in a forbidden relationship that eventually leads them down the path of potential murder–and once they’ve fallen for eachother, there’s no turning back.
The time stamps and transitions present throughout the film are some of the most out-of-place and awkward that I’ve ever seen. I understand the purpose, as Writer-Director Neil LaBute is attempting to channel something from previous films of this nature (films like The Postman Always Rings Twice and Unfaithful)–but for a modern telling of this story, the transitions don’t work. They create a lull in the pacing of the film, a dullness in the vibrancy of the story–it does nothing but negative things for the film, and the strange juxtaposition of tones between the transitions and the rest of the film sort of drowns out the good of the film from time to time.
I’ll be honest, I’ve never seen those aforementioned films, and I don’t have much frame reference of which to compare Out of the Blue, so it’s hard to know how much of a role those films played in helping to develop Out of the Blue–but it seems that, regardless of how much they inspired this film, it’s found a lane of its own in which to operate, in which to succeed. The twists and turns, the passion, and the unique honesty all play a role in how viewers receive this film, and they play together to create something wonderful and entertaining.
On the surface Out of the Blue appears to be a pretty straightforward film, with little in terms of what is being held from the viewers. Beneath the surface, however, there are so many moving parts–and some surprising additions to the film (one’s I wouldn’t have expected to work). Hank Azaria (Jock) is known for his comedy and his one-of-a-kind delivery of said comedy, but Out of the Blue sees him in a different light. He plays the asshole probation officer, a character that adds to the drama and the suspense of the film, all while making viewers feel uneasy. As a result of his acting, viewers are taken to a place of discomfort, and he shines from beginning to end in this role. I’d never have expected a performance like this from Azaria. Not because he’s not talented, but because this just seems outside of his usual lane–but he proves his worth throughout the film’s entirety.
There are some artistic decisions made throughout the course of Out of the Blue that just don’t work well for the film, and there are moments when those decisions make it somewhat difficult to appreciate what is being said and done, but I think the thrilling story of passion and crime outshines the film’s struggles. Ultimately this film is a success, and what LaBute brings to life is entertaining, thrilling, and full of vigor. I don’t always care for these unique love stories, but Out of the Blue finds a balance between the cheesiness of your typical romance film and the brilliance of a genuinely good thriller. Whether viewers know it or not throughout the course of the film, they are being manipulated. They are being manipulated in the best possible way in order to allow the film’s ending to work–and LaBute is successful in doing this. This manipulation is ultimately inviting, and the reason why Out of the Blue is worth watching.
Written & Directed by Neil LaBute.
Starring Diane Kruger, Ray Nicholson, Gia Crovatin, Hank Azaria, Chase Sui Wonders, etc.
⭐⭐⭐⭐⭐⭐⭐⭐/10
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