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Movie Review

Action and emotions carry Those Who Wish Me Dead through the fire

Alex Bentley
May 13, 2021 | 3:38 pm
Action and emotions carry Those Who Wish Me Dead through the fire
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Even the most complicated action movies tend to have a singular focus. If you’re making a crime thriller, the action is about the crime. If you’re making a movie about firefighters, the action is about the danger of the fire. The new film Those Who Wish Me Dead divides its focus, trying to fit a bit about both of those worlds into its running time, and barely succeeding at making a coherent whole.

Angelina Jolie stars as Hannah, a wildland firefighter who’s been consigned to a fire tower watchpoint as she recovers from a traumatic recent experience. She and her group of firefighters are a close-knit bunch who are also tight with the local rural community, including Ethan (Jon Bernthal), a sheriff’s deputy who runs a wilderness survival school with his wife Allison (Medina Senghore).

Their isolated world soon collides with the criminal underground when Owen (Jake Weber) and his son Connor (Finn Little) come to town, hoping to find refuge with Ethan, Owen’s brother-in-law. They’re on the run from Jack (Aiden Gillen) and Patrick (Nicholas Hoult), two killers who are trying to prevent Owen from releasing damaging information about the people for whom they work.

Directed by Taylor Sheridan and written by Sheridan, Michael Koryta (who wrote the book on which the film is based), and Charles Leavitt, the film is a mixed bag of storytelling. Where the filmmakers succeed the most is establishing the bonds of the various relationships in the film.

In relatively short periods of time, the connection between Owen & Connor and Ethan & Allison become meaningful parts of the story. Hannah is shown to be an extremely empathetic character, something that helps her greatly as the film progresses. Heck, even the killer duo of Jack and Patrick have an unspoken link that is unusual in a world where people tend to only look out for themselves.

But the disparate parts of the story ultimately become a bit much for the film to handle. The crime part of the story never really makes sense, as they never say exactly what information Owen has or who employs Jack and Patrick. There’s a lot of innuendo and intrigue, including a random meeting with Arthur (Tyler Perry) that hints at a larger story that got edited out of the movie if only because having Perry show up for one scene doesn’t compute.

However, you don’t have to understand the story to get into the suspense of the third act of the film, which includes not just the killers menacing everybody in sight, but also a raging forest fire. Sheridan and his team stage almost all of these scenes well, even if the computer-generated fire fails to inspire the awe that it should.

The acting in the film is uniformly good, probably too good for the type of film it is. Jolie, despite a few over-the-top moments, remains a commanding screen presence. Bernthal and especially Senghore do a lot with relatively small roles. Little is likely to get a lot more work thanks to his nuanced performance. Gillen and Hoult are way overqualified for their respective roles, but the fact that they are elevates their characters to more than they might have been.

Those Who Wish Me Dead is not a film that will stand the test of time, but it’s a solidly entertaining action film with a number of compelling performances, much more than can be said about other recent films.

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Those Who Wish Me Dead opens in theaters and on HBO Max on May 14.

Finn Little and Angelina Jolie in Those Who Wish Me Dead.

Finn Little and Angelina Jolie in Those Who Wish Me Dead
Photo by Emerson Miller
Finn Little and Angelina Jolie in Those Who Wish Me Dead.
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Movie Review

The life of an actor is far from rosy in dramedy Misty Green

Alex Bentley
Oct 9, 2026 | 2:00 pm
Rosalind Eleazar in Misty Green
Photo courtesy of A24
Rosalind Eleazar in Misty Green.

For every well-known/successful actor in Hollywood, there are thousands of others whose lives are more tenuous as they struggle to find work. The new film Misty Green is about one such actor who, after a period in the limelight, now finds herself on the outskirts of the industry, just hoping to find her way back in.

Misty (Rosalind Eleazar) won an Emmy for a 2000s-era TV show that still gets her recognition, but not much work. Still living in the apartment of a recently-deceased man with whom she was having an affair, Misty spends her days sleeping in and her nights getting blitzed on alcohol and drugs. She seems to be heading nowhere fast until a few things coincide to break up her routine.

The man’s wife (Amy Landecker) shows up and tells her she has seven days to vacate the apartment; Misty’s brother, Jay (Daniel Kaluuya) — who is bipolar — arrives after being kicked out of his facility for non-payment; and Jordan (Chris Rock), a former colleague with whom she had a falling-out, reappears in her life, offering a possible chance to rehabilitate her image.

Written and directed by Rock (his first feature since 2014’s Top Five), the film is a funny and excruciating look at how the entertainment industry might actually work. Misty is her own worst enemy thanks to late nights fraternizing with unsavory characters like Zach (Adam Driver), who deals in drugs and women in equal measure, but her frustration proves warranted when her agent, Randy (Topher Grace), and casting directors like Rhonda (Tracie Thoms) hardly give her the time of day.

Misty tries her best to stay positive, but when jobs like singing in a bar are the best she can do, the mountain seems insurmountable. Rock does an effective job of demonstrating the elements that are within and without Misty’s control that affect her ability to regain her position in the industry. The chip on her shoulder is almost as big as the bias some have against her, and other negative circumstances don’t help matters much.

There are many small touches that Rock and his crew put in the film to give it an air of authenticity. Filming in Los Angeles (a rarity these days), Rock uses both subtle and overt shots of homeless people in the city, suggesting that the line between the haves and have-nots is a fine one, especially with Misty on the verge of not having a place to live. He also has cameos from a few of his funny friends, including a bit of meta-casting of Anthony Anderson (who has faded a bit after starring in Black-ish) in a bit part as a cop.

Eleazar, a British actor best known for appearing on the Apple TV show Slow Horses, is a magnetic presence as Misty. The character herself is somewhat cringey in her decision-making, and Eleazar sells every bit of her righteous indignation and self-defeating actions. The supporting cast is great across the board, including Rock, Driver, Kaluuya, Thoms, Grace, Anna Kendrick, and Rich Sommer.

Misty Green makes you rage against the Hollywood machine, laugh at the various ways different people deal with its maddening quirks, and hide behind your fingers as Misty chooses options that don’t help, either voluntarily or because her back is against the wall. It’s a powerhouse of acting that gives a unique angle on the inner workings of Hollywood, one that ironically might be competing for awards at year’s end.

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Misty Green is now playing in theaters.

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