Straw – Without release, the review of the Netflix movie

Too much stroppy, in life as for the cinema. It is proof of this Straw – without exitnew film by Tyler Perry and original Netflix, which soon conquered the top positions in the ranking of the most viewed feature films of the platform. A work that, in fact, wants to reach a large public, by any means possible. So much so that he is not afraid of expiring in a car of sadistic and pietistic crying, which makes it impossible to sympathize, empathize or only enjoy the vision of a film built at the table to manipulate emotions, always and always going only by a single part – precisely, precisely, without exit. That of life as a container of disappointments and misfortunes of the protagonist Janiyah, whose interpretation of Taraji P. Henson It follows the intentions and the uncontrollable and uncontrolled emphasis of the film, which comes and wants to be called a thriller drama with psychological touches, but it is only the sequence of tragedies that in one day – a single single day! – They happen to the woman on the verge of a nerve crisis.

Straw – without exitthe plot of the film

Even just report the plot of Strand Show the quantity of unlikely misadventures that the protagonist must cross in twenty -four hours. And not in one of those stories in which the accumulating of excesses and absurdities overlap with attention and accommodation to actually enrich the narrative, but to flatten it and paradoxically remove it even more, there right where the work wants to force you to negotiate for the misfortunes and the disasters towards which the poor and defenseless Janiyah from the golden heart is encountered. First of all, the film starts with the protagonist and his daughter who wake up while the neighbor pumping so much his music in the speakers that the few, battered objects of their apartment tremble. We continue with the hostess who screams her two months of unpaid rental, the same goes for the girl who needs money for lunch – after the teacher ridiculed her in front of the class – and then still brutal employers, customers of the supermarket in which he still works worse again (One throws them even a glass bottle on the feet) and a guy who first testers the car, then turns out to be a policeman who threatens to shoot her a blow in the head. And we have not even mentioned the shooting in which he is entangled and the bomb that a bank director believes in his backpack.

We would like to be able to say that the crosses of Janiyah’s sufferings end here, but it is better to stop otherwise this article would no longer be concluded – which is basically the same exhausting feeling that the film leaves. And that is exactly what Tyler Perry does, also a screenwriter and producer: a ringing of disasters that become so many that they do the tour and be unreal. Not the connection trampoline to get in tune with others – Which, in a lazy way, will happen in the film only when the protagonist will make an exasperating monologue while he is secretly taken up and listened to by the whole city (the whole city!) Through a direct internet. A pustling that is counterproductive compared to the intentions placed by Perry, who want to show what can start in a person who reached their limit. Someone who does not feel seen, understood, understood, treated indifferently bad by everyone – although the component of gender and ethnicity is predominant in the speeches that the film wants to carry on – and that it must be justified (in its way of seeing and, in the end, also of the inhabitants of the work itself).

A film that uses bad luck to conquer (subtlely) the public

A vision that approaches almost Strand al Joker by Todd Phillips, a comparison that may seem irrational, but that resumes the concept of living “in a society” that snubs us and ends up making us together victims and executioners – And with which it is obvious that in the end people tend to fraternize. And that makes you feel guilty even if you end up seeing it differently. Which points the finger so much towards all the people that Janiyah met during his day, as well as towards the public who, instead of compating it because he recognizes extremism in the film, can be accused of lack of empathy. Also given the success that Strand He is receiving among many of the spectators of Netflix, but precisely because the film knows how to be subtle and clever in the exploit the bad luck of the protagonist.

A bad Taraji P. Henson to whom it is obvious that the only directive that seems to have been given to her is to prove itself as destroyed and unfailed as possible. As in trance in some parts of the film – in particular in the “fake” robbery that occupies a large part of the story – made annoyingly tearful, complete with a moment with screams and arms to the sky in a thunderous rain. A film that would have requested more respect for its protagonist, for the mother he wants to tell and the adversities that many women like Janiyah really face every day of their existence. Because it’s okay to say: I see you. But it is necessary too know see Wellnot only for the taste of spectacularizing (and monetize) the pain.