When drug violence worsens on the USA Mexico border, the FBI sends an idealistic agent, Kate Macer (Emily Blunt) on a mission to eradicate a drug cartel responsible for a bomb that had killed members of her team.

When drug violence worsens on the USA Mexico border, the FBI sends an idealistic agent, Kate Macer (Emily Blunt) on a mission to eradicate a drug cartel responsible for a bomb that had killed members of her team

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Users reviews

Amanda C (fr)

Whatever can be said of its filmic shortcomings however, is more than made up for by truly mesmerizing performances that fascinate whether you can follow the text or not. Overall most of the problems with this production come from treating it as a film, which isn't completely fair as it was conceived as a stage production. The feeling of surveillance was much better portrayed through the use of two way mirrors and people peeking out from behind curtains and doors. I understand the idea behind them, but it comes across as trying to make it more cinematic, which is unnecessary and pulls focus to how uncinematic this production is. The security camera inserts were unnecessary. The mirror motif and the duality of sanity and insanity within a single person was well done, through actual mirrors and the mirrored floor. Great use of shadows especially on Tennant's face, making good use of its angles. Wonderfully desaturated and bleak. The cinematography is absolutely beautiful. As this is from a stage production and there are a ridiculous number of soliloquies in the original text, the director can't be entierly faulted and he should be commended for letting his actors do what they do best and not overshadowing them. Actors are never that still in films and there are rarely such long stretches of a single person speaking while everyone else on screen sits and watches them. The staging is very theatrical and fantastic use is made of closeups, but the mix of the two makes it slightly odd to see. The direction threw me a bit as it's a mix between film and theatre. Patrick Stewart is also fabulous offering a calming dignified counterpoint to Tennant's manic physical energy. It's unsettling and also completely mesmerizing. He makes fantastic use of his closeups engaging the audience directly, staring straight into the camera and out towards them, drawing you in. You can't take your eyes off him. Fabulously articulate, and beautifully paced, he is absolutely electric. David Tennant has a wonderful way with language. I clearly have not studied enough Shakespeare, because I had no idea what they were saying most of the time, but that didn't matter because they all say it so well. This is the first version of Hamlet I've seen and I thoroughly enjoyed it

Christopher S (de)

It's heavy-handed with its political ideologies, the acting is dated, and it goes on far too long - but a morally complex plot, several memorable moments, and Lang's taut filmmaking keep it compelling. Fritz Lang's politically-minded suspense drama is most interesting as a document of its era, but also works as a thriller

George D (nl)

following a hate crime, a lawyer attempts the rehabilitation of a violent young man; a moving and thought-provoking drama

Heather D (it)

A shocking true story. Well done

Jack F (it)

It's the choices the characters make; they may all be on the proverbial Highway to Hell but, like the best morality tales, it's on them to figure out when-and how-to get off at the next exit. Besides, as I see it, the answers to these questions aren't important. But that only deepened the mystery for me (in a good way), and sometimes I find it better to speculate than to simply wait for a movie to feed me explanations and expositions. Some viewers are likely going to complain about the cryptic nature of the picture as it leaves a lot of questions unanswered. " But each story is strong, and in a style of film that tends to be pretty uneven, that's saying something. I will concede that the differing stories sometimes lead to jarring tonal shifts, and as a whole, the movie doesn't feel as cohesive as something like "Trick r Treat. " Say what you will about Lynch's work (and I've been critical in the past), but he's an expert at evoking a surreal, nightmare-like atmosphere in his movies, and the ensemble filmmaking crew behind "Southbound" (most of whom previously collaborated on "V/H/S," another horror anthology from 2012) appear to have studied his technique and put it to good to use. The stories also each have an appealing, undeniable sense of David Lynchian weirdness, particularly the second story, with the ostensible good Samaritans and their bizarro friends, and the fourth one, in which the bar patrons of the opening moments seem ripped directly from "Mulholland Drive" or "Blue Velvet. I also feel like this story is the key to the whole movie, though that's certainly up for debate, and that's another good thing about the film: it's likely to promote discussion, particularly if you view the setting in a theological context. I probably liked the middle portion the best, particularly the traffic accident story, as it serves as a combination of a nightmarish, "Twilight Zone"-like scenario and Cronenberg-esque body horror that's all but guaranteed to make you squirm in your seat. The most "conventional" is probably the last vignette, but it's certainly not without its twists. Each story has its own merits, and there really isn't a dud in the bunch. Lastly, a family preparing to send their daughter off to college is terrorized by masked home invaders. Next, a desperate man embarks on a harrowing search for his missing sister, and it brings him to some pretty bizarre places. The middle story involves a gruesome traffic accident in which a yuppie, keeping his eyes on his cell phone instead of the road, strikes a young woman with his car. The second centers on a female rock band whose touring van breaks down along the highway, and they unwisely accept a lift from a creepy, eccentric older couple. ) The first story involves two blood-spattered men in a pickup truck seemingly caught in an endless time loop, as they try to get away from ghostly pursuers yet keep ending up back at the same diner. (Certainly the title "Southbound" has all kinds of implications there. But you could also provide a convincing argument that it's actually a circle of Hell, complete with punishment for the damned and a gravelly voiced radio disc jockey standing in for Satan himself. It's not hard to draw the parallels between this forsaken stretch of blacktop and its accompanying small town(s) to the Purgatory of Christian theology, what with the idea that these poor lost wretches could be seeking atonement and undergoing a purification process for their souls. but they all end up here. . . Most of them are running from something. The unlucky characters who find themselves here will soon learn of its sinister, almost purgatorial nature, as they each confront their inner demons-literal and figurative-and try to cope with their various feelings of guilt, shame, and remorse. And now we can add "Southbound" to the mix, a nasty, effective little piece that churns out five stories all taking place along a desolate stretch of highway somewhere in the southwest. Whatever the reason, there's just something in my makeup that responds to this particular category of the genre. Anthology comics and series like "Tales From the Crypt" were particularly skilled at this device. Or maybe it's because so many of them involve terrible people getting their just deserts, and there's just something supremely satisfying about that particular narrative. Perhaps it's because the format works so well for the genre in that a story ends before monotony can set in, and then it's on to the next one; essentially, this distills a horror story down to its basest element, which is fear (obviously); no time for fluff or endless exposition. From "Creepshow" to "Tales From the Darkside" to "Trick 'r Treat," a well-executed horror anthology is a lot of fun. I've always been a fan of horror anthology films

Jonathan S (ru)

Filled with brilliant suspense and great comic relief, Foreign Correspondent is one of Alfred Hitchcock's best movies ever made

Justin R (kr)

Some great sequences, and a lot of funny stuff, but it takes an awful long time to get to the haunted house

Meghna P (jp)

Good acting all around and not as sickly sweet as I would have thought. Exceeded my expectations

Mike N (ca)

the editing was kinda annoying to me,so my interest faded in and out of the story, but it was still touching. . beautifully filmed and good performances

Panayiota K (ca)

really bad animation, boring storyline