aka IN A HEARTBEAT
Written and directed by Raoul Girard
Philip encounters a homeless woman in the park who appears in distress. He takes her back to his home to help figure out who she is and where she comes from. The woman reveals herself to be Jane, a model from America, but there seems to be lots she’s trying to hide from Philip about her life. Likewise, Philip has a few secrets of his own.
When you think of a Danny Dyer movie, you automatically think London gangster flicks. In a pleasant surprise, BLOODSHOT features a Danny Dyer less seen, a subtle character that’s played with emotion and a realism that displays Dyer’s acting chops and range. Dyer is the strongest link in this movie which unfortunately ultimately fails due to a weak script and pointless plot that aimlessly wanders when it should be a straightforward tale.
The focus of BLOODSHOT is on the character of dishevelled, unhinged Jane and the mystery behind her life. A fear of abuse and men, flashbacks hint at a sinister past but what really evolves from this particularly plot thread is that Jane is rather mentally unstable. I feel as though this particularly character is an awkward role for Zoe Grisedale because we can’t clearly see what her character is meant to be like as Jane’s personality changes so often. The reasons for this, as well as the supposed thriller element of the plot, seem to be added as filler and are pretty much throwaway or at least used to just delay the actual reveal of the truth.
Danny Dyer stars as quiet visual FX sculptor Philip who at first treats Jane’s arrival with caution but begins to fall for the attractive if crazy stranger. He appears to have a calming influence on Jane, though she still goes off the rails at a drop of the hat, and Philip longs for a future with her. Her point of view on his sculptures even broadens Philip’s view on the world and helps him to grow up and realise what he wants. Will her instablity put a dampner on things though and will she trust in Philip as much as he trusts her?
Though only playing a minor part, Keith Allen steals the scenes he’s in as psychiatrist Peter Smith who likes to get physical with some of his young lady clients. The elder romeo too has problems of his own though, most to do with aging, as he spills his inner torment to Philip in one of the funniest scenes of the film.
Though the film has likable qualities, mainly down to Dyer, the higgledy piggledy plot ruins the movie. What should be a straightforward tale about relationships is blighted with unnecessary plot ‘twists’ (and I use that term lightly) that add nothing to the movie except confusion and disjointedness. Though the film features some decent performances, there’s not enough here to save the movie nor make it a coherant one.