To see the “sharp corner” seem closer to watching a car accident in a slow movement. There is a dark inevitability for the procedures and harsh strings of cruelty on how to summon us to not look away.
This comparison is appropriate, of course, taking into account the extent of central car accidents in the story of equal marital suburbs, which have become unnecessarily obsessed with stopping (or at least help) the huge number of accidents that occur in the treacherous Al -Zawiya Street in front of his new home. Under the performance of the type against Ben Foster, the psychological excitement that goes beyond the writer Jasson Bookston around the home and masculinity is wonderfully installed, but it eventually strikes a very hollow tone to land for its knee from the final shot.
The promise of a new home is the opportunity to create a house. This is what Josh and Rachel (Foster and Cuban Smolders) hope to do when they move to a wonderful drug away from the city with their child Max (William Kosovic). But their mysterious happiness and laughter when they begin to empty and stability are short -term. Josh and Rasheel were happy with the sexual intimacy they have long neglected from tire tires through an front window. It seems that the car has slipped from the road and hit the tree that provokes the front grass. What appears at the beginning as a strange accident – which, in turn, frightens every person in the family, and soon Max – the beginning of the tragic pattern.
As Buxton is accurately telling us, this wonderful house of The Woods sits in front of a sharp turn. This luxurious angle proves that it is very fatal for drivers drunk or dispersed in another way (especially during stormy weather). When the first accident, which kills a teenager, was driving his car under influence, Rachel is ready to rethink this new life and this new home. How can they raise their boy when any noise of screaming or brakes from the street is sufficient to send them all over the edge? Do they not have to charge and come out immediately? By the time when a second accident occurs, and Josh was forced again to testify without power that someone dies in front of him, the couple finds themselves struggling with repercussions in completely different ways.
Rachel pushes practical solutions, and to focus on the psychological impact of these incidents on her sensitive little child. But Josh starts slowly obsessing about how he can become a savior for anyone who ends up in a wreck on a mark. Bored clearly if it is not completely satisfied with his administrative job in the city, Josh quickly consumes with these past tragedies and the future that can help in his pride. He searches for the lives of these victims. He spends his nights on his front balcony, and beer on hand, staring at any transient front lamp. Later, he begins to take CPR lessons, and is currently preparing for a hero who knows that he can be. But soon his obsession gets the best, and the same family that he is trying to maintain is safe in reporting under informal indifference to their needs.
Foster has long preferred to play the wounded, and sometimes the brutal characters that shone them through the physical existence of the actor. He brought a movement intensity for projects such as “3:10 to Yuma”, “Hell or High Water” and “EMANCIPATION”. So it is great to see him playing a moderate role in the moderate suburbs here. It encourages a strong drinker, a hair of steel and a clothing cabinet like Josh’s private personality (it’s all the khaki Chenus and blue blue buttons), they flourish in a man who cannot carry himself to take over. Although he is married to one of the therapists, Josh is a short view of his emotional well -being and the incubator that separates with the sound tone of sound and a kind of physical. But he also manages to drink a kind of malicious threat in this gentle behavior.
Many of the horror of this psychological image of a man depends on Josh’s desire to control a life that rays quickly. It may be the maximum that Rachel feels more anxious than developing PTSD, but it is her husband who slowly separates from the needs and responsibilities that he had been filled for a long time. With a backup degree by Stephen McChyun and sound design that maintains the right of all kinds of noise from the street outside the front and center of the house, the “sharp angle” insists on keeping us trapped in the Josh space – a annoying and light place. It is not a spoiler to propose the ideal life of the images that he hoped to build in this house becomes more and more eloquent as he installed his daily life.
In the hands of Buxton and Foster, Josh is a dark study of contemporary masculinity. This is an increasing myth of nerves around the lengths of men whose lives are calm if just fun will make themselves feel necessarily and verify their health. In 2025, this may be read like a very clear psychological image of a meek man like Josh. Because this is the type of debris (vehicle or other) we have seen once several times; We forced us to be Rubberneck on our way through which it is exactly the point. But this, too, is what makes it less influential and less surprising than it hopes to be.