The Trust, 2016

Saban Films

What a lovely film with a performance by Nicolas Cage (Mandy, 2018; Color out of Space, 2019) that has all the potential for whatever of a comeback that remains, with a distinguished and disingenuous wide-eyed originality to the matter of fact flash of emotions and short outburst of cocaine-induced moments of furor coupled with a slight glimpse of the bitty Roy Waller the con man with a myriad of phobias & with a twitchy eye and also the determined drunk, Ben Sanderson’s mental slur. Elijah Wood (Come to Daddy, 2020, Maniac, 2012)) is pretty much Elijah Wood, which is a good thing. He is the one with a reefer habit and a cliched heart made of glass. He is, like most times, the emphatic, sweaty, anxious rookie in this workman-like picture, even after being with the force for some time now. The interactions between Lieutenant Jim Stone and Sergeant David Waters are filled with tension from the get-go. Wood is, as mentioned above, the good cop (even if resorting to unlawful methods) in this one, even though released on DirecTV (before a theatrical release a month later), belongs to Ghostrider-man. The scene where he shouts open it repeatedly, like a child into Sergeant David Waters’s face, where Cage roars and jumps out at Jim and the viewer. It is simply magnificent. A treat for genre enthusiasts.  

Two cops get desperate and then greedy and then they get into a lot of speculated and then some real deal trouble to a cheerful score that carries mischief with nasty consequences. The close-up shots, scenes of pristine suspense and smooth walls; a linear and an extremely by the book, except for the brilliantly tragic ending, direction by Alex Brewer and Benjamin Brewer edited with old school care by Lauren Connelly result in a film that truly entertains with almost everything it has to show n’ tell. The conflict, the change of heart, the change of weaponry, the safe-cracking, nail-biting, moment; all of those come together to make The Trust a solid, if not a special film.

There are themes here that have been used many times in the past. The Trust is a film with a very familiar screenplay, however, what it has to say and how the characters lose themselves in their own versions of the American dream and sometimes in Sergeant David Waters’ nightmare, of which we can sense every bead of anxiety that rolls down the temple, is what changes the game. All of it.

The ending is terribly fantastic. I was still thinking about it while taking a shower the next morning. Actually I was pondering the entire film and how bloody performance driven it is, all of this while getting ready to start the hot as hell day. 

One more thing; Jerry Lewis (1926 – 2017) is still the man.

Please click here to stream The Trust on Netflix, or on the image above to buy a DVD + Digital copy of the film.

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