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What do critics say about "Sinner"?

"The Guilty" is one of Netflix's latest crime films, which has received relatively positive reviews from critics and a well-received audience in a short period of time. . Guilty is actually a remake of Gustave Mller's Danish film of the same name (Den skyldige), which was released in 2018 and was considered one of the nominees for the Academy Award for Best Non-English Language Film at the time.

The Corona epidemic of the film industry was met with a serious crisis that stemmed from the reluctance of audiences to watch films in cinemas and the complex conditions of filming cinematic works that had virtually minimized production. Under these circumstances, online movie and series screening platforms emerged and with the expansion of their exclusive productions, they became the undisputed king of the movie and series industry.

Netflix was one of these platforms that in the past had many fans all over He had the world, but with the Corona epidemic he gained more fame and now, with an ambitious decision, he shows a special content every week. Directed by Antoine Foucault and produced and starring American remake Jake Gyllenhaal, it is a Danish film that may not be as complex and subtle as the original, but it is also a thrill to watch for new, exciting audiences and sinful Danish lovers.>

The idea for the remake came to Gyllenhaal when he decided to make a film with a coronary limitation that would go in the shortest possible time and with the least number of locations and agents in front of the camera. The filming of Sinner lasted only eleven days, and the whole story of the film takes place in a single location. There is also no actor in the film other than Gyllenhaal and several telephone operators. Work at the 911 Police Emergency Center. The film shows one day of Joe's life at the height of the Los Angeles wildfires and, of course, the social unrest that has exacerbated the call for help.

His troublemaker will come to terms with it and patiently respond to the people who are each stuck in a bad situation, but he is not very successful in this task and he does his best to open the clients faster than he can. Until he is forced to appear in the guise of a hero for at least a few hours with a phone call from a terrified woman and save the woman from the difficult situation in which she finds herself.

All scenes in the film The 911 emergency center occurs and there is no external location, and even showing the mess outside is limited to displaying fire images from large screens. Jake Gyllenhaal, on the other hand, is the sole protagonist of the film, and the audience is informed only through the voices of police officers and injured people. Most critics have a positive view of this work and consider it a spectacular film. Sinner has received a score of 71 out of 100 out of 151 reviews on the Raton Tomitoz website as of this writing. Also, the number of reviews on the Metacritic website reaches 35, which gives the film a total of 63 out of 100 points. Let's take a look at it together.> Peter Bardshaw of the Guardian

60 out of 100

Joe Biler is shocked to hear the tearful voice of a terrified woman. It no longer matters what personal problems he has gone through, the police sham comes to his aid and cleverly deduces exactly what the situation is, and with the help of a few clues he understands what is happening.

Similarities between this situation And his dire family situation indicates a painful atmosphere in which some sort of personal salvation may occur to him; So he has to make a desperate effort to control and resolve this situation over the phone. He suddenly becomes increasingly insane and unprofessional and stays at work even after the shift is over, ignoring other calls to the 911 Emergency Center. It is heard across the line, it diminishes over time; So Jake Gyllenhaal is forced to show excessive anger, louder shouts and even confession. Over time, the situation seems to be more complicated than Joe imagined, and the question also arises as to who exactly the title of the film refers to.

To compensate for a typical action-drama, A few close-ups of Jake Gyllenhaal's face are enough. Of course, it is a good image of a man in the church confession room; A sinner who has taken the place of a priest!>

Guilty is essentially a film about a person with a phone, and if anyone is to play the role, it must be Jake Gyllenhaal, who can express a wide range of different feelings, worries, and attitudes using the iPhone attached to his ear. Manage the headset on the head. This man is terrible, but Gyllenhaal also presents the most important part of the character; Joe is also terrified.

The culprit lacks much of Mller's heavy tension, yet it seems familiar only to those who saw the original film, and goes in a different direction with Jake Gyllenhaal's explosive performance.

While some sound design choices seem overly obvious (there are questions about callers' location in phone calls, we always know what they are doing; for example, brake or open and close sound However, there are other elements that can be considered, such as the colors of the computer atmosphere; Red is for the situation where the call is made and the caller is apparently healthy, and blue is for the situation where the call is lost.

Life is affected by bad choices and this horrible night is the only thing that matters. . Gyllenhaal and Foucault are moving towards the end of their spectacle, and there is no denying that everything will end when this contact is cut off.

Peter Debrag of Variety

60 out of 100

The less the audience is aware of the plot twists, the better, and sinners like "Buried" and "Searching" make the most of their limitations. Raises. However, there is a major miscalculation in Jake Gyllenhaal's style of play that is very different from Jacob Siddergreen's "keep calm and keep going" in the original film. Foucault does not treat the incident as a routine telephone call to the police emergency center, but as an emergency of life and death.

Los Angeles is burning in the background, but Joe Bayler This kidnapping should be taken seriously in the finale of serial 24. Why is he so committed to resolving this particular crisis, and why does he insist on saying that the police protect people when talking to a worried girl? Remember, the title of the film is "Sinful," and Foucault believes that Joe's conscience is in turmoil and that this contact could make a difference in the decision of the next day's court hearing.

Society to the police It is needed and it seems that the film tries to instill this political concept, but what happens if social contracts are broken? (At one point in the film, Joe looks only at the riots caused by the black protests). Yes, the police are supposed to help people, but sometimes they can't. With this in mind, how can it regain public trust after these events? It's better to put these concepts aside. Maybe Joe Biler is not a hero cop, or maybe Emily's emergency is not as straightforward as it sounds. It was more effective. We see that Joe is confused, but we do not say to ourselves, "God, how serious some of the cops are about their work," but we think, "This man is a psychic!" Atmosphere is too logical. Even though he is handcuffed, he can still get help from his police friends, break down doors and order the streets closed. Just like the controllers of the army's deadly drones that can control everything remotely.

Anyone who has seen Jake Gyllenhaal's "Nightcrawler" and "Southpaw" can immediately recognize that these are early Soros works to watch another outstanding performance. With the exception of one or two colleagues at the Police Emergency Center, Joe is the only character we see in an hour and a half; He stares at the screen in front of him and angrily taps the various buttons; In fact, it's a muscular package of rage and rage, and Gyllenhaal's acting is just as admirable and not annoying at the same time.

Guilty films like Locke and Phone Booth It acts like a radio show and receives the drama from the sounds across the line. The film seems too long and exhausting in the moments, and the narrative tension of the existing story is not enough. Yet even if the culprit turns into a mad melodrama, Gyllenhaal will retain his extraordinary performance until the end of the film. Produced with minimal factors. Due to the horror plots and a lot of sentimentality, this film becomes a very effective solo show and, like a man who portrays convincingly, it finally finishes the work.

Amon Warman from Empire

80 out of 100

The movie is at its best when the butler is emotionally aroused and makes a series of calls, in This makes the details of Pizzolato's screenplay clearer and more urgent. Joe's character is an interpretation of the American police; He has been suspended for reasons that we eventually understand, and of course he does not overemphasize the emotional aspects of the story.

None of this would have been possible without the convincing performance of the main culprit. Gyllenhaal shows the mood of the atmosphere well at first, but as we learn more about Emily's personal situation, we encounter layers of frustration and depression. Similarly for audio performances. It happens, for example, that Riley Keo, as Emily's voice actor, portrays this character well, severe emotional problems, and subtle yet effective changes. The same is true of Joe's former co-workers, all of whom try to paint a clear picture of what is not in front of our eyes. For those unfamiliar with the original film, Foucault's guilt is only a modified taste of what influenced the idea so much. Does to fight the clock ticking to save the woman. In this way he achieves a kind of salvation for his reprehensible past. These personal parts appear very soon in Pizzolato's screenplay and do not allow the horrific details of the abduction to be made with the necessary intensity at first. Tangible suffering depicts him. The thing about closed shots is that sometimes the slightest wrinkle on the eyebrows may seem too modest, and sometimes everything gets to the unwanted level of melodrama.


Source: variety

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