Three star review of Wreckers by Kate Muir in The Times.The beautiful Norfolk fens hide dark secrets in D. R. Hood’s debut, featuring Benedict Cumberbatch and Claire FoyCumberbatch plays David, who works with disturbed children, and for once he is not typecast as a toff.

Indeed, while we are quite happy for people with humble origins to re-invent themselves in order to fit into middle-class society, we tend to be a lot less forgiving when it comes to people who conceal a history of violence and manipulation. We need these things because to do without them is to wind up like Nick, honest but crushed by the sheer weight of historical horror.Bloody hell, stupid me for reading this. Earlier after he first hears about the robbery he has a "memory" of him pointing the gun at the woman as if she is a bank teller and he is robbing her. We get cobwebs, various POV shots through windows, extreme close-ups, and a stack of hints without ever quite teasing out the truth of the story. Worried about how little she seems to know about her husband, Dawn begins experiencing strange dreams born of fear at the prospect of social and psychological partitioning. The film ends with Dawn and David happily re-united thanks to the birth of a son.

Wrecked is …
However, I do agree with Lolly that you should have placed a spoiler warning just in case people were not looking for what I was. Please impart me with your insight if you’re finished T__T. With absolute grace and absolute elegance, Hood and Cumberbatch created a mercurial character whose many mysteries positively cry out for resolution: Was David really all that violent as a child?


Indeed, if we are trying to convince someone of something we know to be false then our capacity to mislead them is largely a question of skill; we need to be able to minimalise physical tells, keep stories straight in our heads and know when to play down certain elements of the story lest our interlocutor realise that we are trying too hard to convince them.

As Dawn’s arc suggests, we like the idea that we must be perpetually honest with ourselves because we like the idea that there is a real self to which we can be true. Christ, I don’t know. Post was not sent - check your email addresses! If she has outside friends and family, they are never mentioned.Nick, whose working-class status is neither challenged nor denied, occupies the innermost skin of the onion. Was that violence morally justified? However, having raised all of these questions, the film concludes by presenting us with a happily married couple. However, since Shakespeare’s day, self-deception has moved from tactical error to absolute moral failing. Plus any film that showcases an open-topped white Karmann Ghia has my vote As socially progressive people, we are quite comfortable with the idea of a working-class lad-done-good, but what of a psychotic lad-done-good? Most of these cute moments in “Wreckers” come when David and Dawn are in bed. Hood’s first film Wreckers suggests that truth counts for very little when weighed against the many other things that make up a life and that self-deception is really just another term for living a tolerable life. I was raised on shows like “Everybody Loves Raymond” where the husband and wife relationship is reduced to the nagging wife and foolish husband. Michael Bafaro's B-thriller "Wrecker" pays crude homage to the Steven Spielberg-Richard Matheson TV-movie classic "Duel" by pitting a pair of young ladies … The beautiful Norfolk fens hide dark secrets in D. R. Hood’s debut, featuring Benedict Cumberbatch and Claire Foy Wreckers is a small canvas, but it contains fascinating performances from Benedict Cumberbatch and Claire Foy as a couple returning to their roots in the country. The reason for this double standard is that while some traits are considered to be more fundamental to a person than others, which traits are considered fundamental is largely socially constructed.While both Foy and Evans turn in strong performances, Consumed by the fear that David may not be the man she married, Dawn becomes increasingly obsessed with getting pregnant. The idea of social partitioning is useful to understanding the film as Wreckers is all about the tension between different levels of society:The outermost skin of the onion is occupied by Dawn, whose deportment and intelligence make her the very model of a modern, accomplished middle-class woman. There are no physical tells to detect because we ourselves believe the story that we are pushing. It isn’t a thriller and really isn’t about plot so I don’t think that it can be spoiled.Also, this is quite an arty film and if you’re the kind of person who cares about spoilers then chances are that you won’t like this film.So either way, I’m quite content with my lack of spoiler warnings :-)Thank you, that was a very good analysis and summary; exactly what I was looking for in order to know if I should watch the film. By the end of the film we know that he never really pointed the gun at her because he was just an innocent bystander who got held hostage and taken away. Our willingness to champion working-class-lads-done-good while feeling distinctly uncomfortable around psychopathic-lads-done-good reveals a double standard surrounding what does and does not constitute an acceptable attempt at re-invention. As David, Dawn and their son walk towards the camera and the credits begin to roll, we can reflect upon the words of Polonius:This maxim relies upon the assumption that honesty is always the best policy but what of those times when self-deception results in a happier and more enjoyable life than one lived in the shadow of oppressive truth? When Polonius advised his son to remain frank with himself, it was not because he saw self-deception as inherently wrong but rather because if you bullshit yourself it is difficult not to wind up bullshitting other people. As Nick so wonderfully puts it, David did not just love Nick as a brother… he owned him.This suggestion casts an interesting light on Dawn’s social anxieties.

Three star review of Wreckers by Kate Muir in The Times. There is no secret to our inner lives; there is only self-deception, convenient fiction and palliative myth. His minor lie to a fertility doctor takes the couple to the brink of divorce because that lie suddenly becomes a focus for Dawn’s concern about all the other lies David may or may not be telling both her and himself.


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