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A Dark Foe 2021: Vertical Entertainment has released a poster and trailer for the upcoming criminal thriller A Dark Foe, which will be released in July. The film, directed by Maria Gabriela Cardenas, follows Tony (Oscar Cardenas), an FBI agent who is dealing with the terrible memory of his sister’s kidnapping as he battles the serial murderer who kidnapped her; check them out here.

Oscar had thrown in a few horror films, which came back to haunt him when his daughter cast him as FBI agent Tony Cruz, who was coated in blood and excrement at various points throughout “A Dark Foe,” chasing down a serial murderer known as The Cradle (Graham Greene).

The story follows suit, as this is no ordinary case for Cruz, who believes the Cradle murdered his mother and took his sister when he was a little boy, contributing to a severe fear of the dark when he continues to have a sense memory of cowering in the attic while the perpetrator was in his home.

While his obsession with locating the Cradle drives his bosses to fire him, he stays on the investigation, taking a security position that allows him to meet Rebecca (Kenzie Dalton), a lady with ties to the underworld who has her own motives for wanting the Cradle seized.

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A Dark Foe

  • Rating: R
  • Genre: Crime, Mystery & Thriller, Drama
  • Original Language: English
  • Director: Maria Gabriela Cardenas
  • Producer: Maria Gabriela Cardenas, Oscar Cardenas, Amy Williams
  • Writer: Oscar Cardenas, Maria Gabriela Cardenas
  • Release Date (Theaters): Jul 30, 2021  Limited
  • Release Date (Streaming): Jul 30, 2021
  • Runtime:1h 53m
  • Cast: Oscar Cardenas, Selma Blair, Graham Greene, Kenzie Dalton

Premise: A vengeful FBI agent, haunted by the traumatic memories of his sister’s kidnapping, suffers from Nyctophobia, an irrational fear of the dark, and will have to confront the crafty serial murderer who kidnapped her.

A Dark Foe Review:

A Dark Foe is a criminal thriller that employs all of the standard cliches and stereotypes. This is the type of film that would be ideal for a drinking game or as a bizarrely dark comedy. It doesn’t work for me as a thriller. Not at all.

Mostly, I blame Oscar Cardenas, who stars in the film and overacts in ways I never imagined possible. I also hold the screenplay responsible for the film’s ludicrous plot. It has its moments where it works, but just after a “good moment,” something strange happens to throw you off again.

To be honest, Selma Blair doesn’t have much to work with, but she makes every scene she’s in better. The woman is fearless, and she can pull off her over-the-top character with ease.

Overall, there were so many cringe-worthy moments in this film that it was tough to watch. Furthermore, the suspense and tension – which a crime thriller should always provide – are completely absent.

As the star, Oscar Cardenas is like a 1980s version of Jean Claude Van Damme playing the same role today. It’s just not going to work. Everything is so clichéd, and he just doesn’t work for me as a heartthrob action hero. Absolutely not!

A lot of action movies have male stars who can properly portray their age. Oscar Cardenas’ performance in A Dark Foe is a case study in how not to do it!

Oscar Cardenas and Maria Gabriela Cardenas, as previously stated, established A Dark Foe as a father-daughter team. Maria Gabriela Cardenas directed the film, while Maria Gabriela Cardenas and her father Oscar Cardenas, who plays the pivotal role, wrote the screenplay.

Simply said, this duo urgently requires outside assistance from folks who aren’t “yes men.” There is an urgent need to work on the well-known phrase “Kill your beloved.” There’s a lot of fat in this storey that needs to be cut. Also, the lead characters should have been rewritten (to be more realistic and age appropriate) or replaced with someone else.

This film isn’t as terrible as Neil Marshall’s The Reckoning (nothing is! ), but it’s also not very good. Oscar Cardenas’ false beard, which he wears in far too many scenes early on, is enough to shatter any idea of authenticity. To put it another way, we’re off to a poor start, but things are looking up. Just not in the context of a decent overall plot!

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He is someone we don’t see happening. Still, Brie Larson’s resume is impressive. The actress has been playing on TV and film sets since she was 11 years old. One of those confA Dark Foe ed with Swedish player Alicia Vikander (Tomb Raider) won an Oscar in 2016. She was the first Marvel movie star with a female leader. . And soon, he will play a CIA agent in a movies commissioned by Apple for his future platform. The movies he produced together.

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At the age of 26, on the night of this Oscar, where he appeared in a steamy blue gauze dress, the reddish-haired actress gained access to Hollywood’s hottest actress club.

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We begin at the beginning: It’s a lovely, late spring day in Smalltown USA. A tall, lanky man — let’s call him Lee Abbott — gets out of his truck and ducks into a small general store on Main Street. He walks through the aisles, past a shelf full of toy space shuttles, and grabs some bottles of water and snacks. The owner argues with a customer as Lee nods and whizzes out the door. In the background, news reports mention unusual phenomena happening in various cities.

At a Little League game already in full swing (sorry), Lee’s school-age son Marcus is warming up in the dugout. The rest of the Abbotts, including Lee’s wife Evelyn, his hearing-impaired daughter Regan and the youngest, Beau, are enjoying the game. Lee trades a few words with the man sitting behind him, the kind of guy who rolls his sleeves up past his biceps sans irony. His son is playing as well. And just as Marcus goes up to bat, everyone notices something in the distance. Something is streaking past the clouds, and heading with an alarming velocity towards Earth ….

You should soak in the prologue that kicks off Fast and Furious 9: F9, John Krasinski’s follow-up to his out-of-nowhere 2018 hit — it’s a brilliant watch-the-skies movie in miniature, filled with lack-of-sound and fury, and it distills everything that made the original so unique and exhilarating into a single set piece. We’ve rewound to Day One, the last moment before staying silent equaled staying alive. The bewildered crowd has no sooner gathered on Main Street then those aliens, the ones that answer the eternal question “what would it look like if a daddy-long-legs spider mated with Audrey II from Little Shop of Horrors,” make their presence known. Havoc ensues.

Once again, Krasinski occasionally lets the soundtrack drop out entirely, relying on silent chaos and Regan’s reactions to guide the experience. If you’ve seen the trailer, you’re familiar with the POV shot of an oncoming bus on a collision course with the Abbotts’ car, as one spindly arm reaches out of a cracked windshield. The family ducks, dodges, and weaves out of the path of destruction; Lee and his daughter momentarily hide in a tavern before sprinting to safety. Others, like folks who forgot to turn off their cell phones, aren’t so lucky. Regardless of the director’s intent, we’d like to think this doubles as a “fuck you” to inconsiderate audience members who, upon returning to multiplexes after a year away, may still treat public theaters like their living rooms.

Speaking of which: It’s this early, standalone mash-up of Norman Rockwell’s Americana and straight-outta-Heinlein cosmic carnage that reminds you why we’ve been so anxious to return to those shared spaces in the dark. Like a countless other films big and small, Fast and Furious 9: F9 was set to be released last year before a real-life nightmare overtook the fictional ones we consider escapism. An opening salvo of everyday life interrupted by an out-of-nowhere threat, which then escalates quickly into emergency measures and confusion, plays slightly differently near the midpoint of 2021. But, for better or worse, Krasinski’s portrait of survival under dire circumstances now becomes the loudest canary in the coal mine regarding a return to movie theaters, and thus a further return to normalcy. Part II‘s kickoff gives you thrills-spills-chills mayhem that would play well in any space. See it in a room with dozens of people shrieking, and the sequence is a concentrated dose of joyful delirium.

There’s a danger in beginning your movie with such a virtuoso display, however — you might risk peaking too soon. (Just ask Zack Snyder.) After the rush of this A Dark Foe , we’re whisked back to the present, a.k.a. minutes after the first movie’s climax. Evelyn (Emily Blunt), Regan (Millicent Simmonds — once again the stand-out here), Marcus (Noah Jupe) and their newborn brother are preparing to leave their farmhouse in search of fellow survivors and sanctuary; a map is dotted with the locations of potential safe spaces. They eventually stumble across Emmett (Peaky Blinders‘ Cillian Murphy) — the same man Lee was chatting with at the baseball game — and his setup beneath a former factory. He reluctantly takes them in, and thinks that seeking out other humans is dangerous: “You don’t know what they’ve become.” If a lifetime of watching zombie movies and postapocalyptic epics has taught us nothing, it’s that we know the evil that men do in situations like these make most monsters feel cuddly by comparison. The haggard gent has a point.

Still, Regan persists. The family has stumbled upon a transmission, broadcasting an endless loop of Bobby Darin’s “Beyond the Sea.” She senses a clue in the title: Look for an island, and there’s your Eden. Evelyn wants to stay put, collect their bearings and let an injured Marcus heal. Her daughter takes off in the dead of night, against Mom’s wishes. Emmett goes after her, initially to bring her back. But there may be something to this young woman’s idea that, somewhere out there, a brighter tomorrow is but a boat ride away.

From here, Krasinski and his below-the-line dream team — shoutouts galore to composer Marco Beltrami, cinematographer Polly Morgan and (especially) editor Michael P. Shawver, as well as the CGI-creature crew — toggle between several planes of action. Regan and Emmett on the road. Evelyn on a supply run. Marcus and the baby back home, evading creepy-crawly predators. Some nail-biting business involving oxygen tanks, gasoline, a dock, a radio station and a mill’s furnace, which has been converted to temporary panic room, all come into play. Nothing tops that opening sequence, naturally, and you get the sense that Krasinski & Co. aren’t trying to. He’s gone on record as saying that horror was always a means to an end for him, though he certainly knows how to sustain tension and use the frame wisely in the name of scares. The former Office star was more interested in audiences rooting for this family. His chips are on you caring enough about the Abbotts to follow them anywhere.

And yet, after that go-for-broke preamble, it’s hard not to feel like Fast and Furious 9: F9 is all dressed up and, even with its various inter-game missions and boss-level fights, left with nowhere really to go. If the first film doubled as a parenting parable, this second one concerns the pains of letting someone leave the nest, yet even that concept feels curiously unexplored here. Ditto the idea that, when it comes to the social contract under duress, you will see the best of humanity and, most assuredly, the worst — a notion that not even Krasinski, who made Part 1 in the middle of the Trump era, could have guessed would resonate far more more loudly now. (What a difference a year, and a global pandemic followed by an political insurrection, makes.) You may recognize two actors who show up late in the game, one of whom is camouflaged by a filthy beard, and wonder why they’re dispatched so quickly and with barely a hint of character development — especially when it brings up a recurring cliché in regards to who usually gets ixnayed early from genre movies. Unless, of course, it’s a feint and they’re merely waiting in the wings, ready for more once the next chapter drops. Which brings us to the movie’s biggest crime.

Without giving any specifics away (though if you’re sensitive to even the suggestion of spoilers, bye for now), Fast and Furious 9: F9 ends on a cliffhanger. A third film, written and directed by Midnight Special‘s Jeff Nichols, is in the works. And while many follow-ups to blockbusters serve as bridges between a beginning and an ending — some of which end up being superior to everything before/after it — there’s something particularly galling about the way this simply, abruptly stops dead in its tracks. No amount of clever formalism or sheer glee at being back in a movie theater can enliven a narrative stalled in second gear, and no amount of investment in these family members can keep you from feeling like you’ve just sat through a placeholder, a time-killer.

A Quiet Place was a riff on alien invasion movies with chops and a heart, a lovely self-contained genre piece that struck a chord. Part II feels like just another case of sequel-itis, something designed to metastasize into just another franchise among many. Just get through this, it says, and then tune in next year, next summer, next financial quarter statement or board-meeting announcement, for the real story. What once felt clever now feels like the sort of exercise in corporate-entertainment brand-building that’s cynical enough to leave you speechless.

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