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Writed by=Don M. Thompson, Matthew Pope;
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Directed by=Matthew Pope;
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country=USA;
movie info=Blood on Her Name is a movie starring Bethany Anne Lind, Will Patton, and Elisabeth Röhm. A woman's panicked decision to cover up an accidental killing spins out of control when her conscience demands she return the dead man's body.
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Blood on her name vertical. Watch blood on her name online. Blood on her name – sânge pe numele ei (2020. Blood on her name reviews. Blood on her name 2019 مترجم. Blood on her name trailer deutsch. Blood on her name sa prevodom. Blood on her name trailer subtitulado español. Blood on her name watch. Blood on Her named. Blood on her name مترجم. Blood on her name the movie. Blood on her name thriller. Mar 07, 2020, View: 2023, Year:. User Score Overview A woman's panicked decision to cover up an accidental killing spins out of control when her conscience demands she return the dead man's body to his family. Featured Crew Matthew Pope Director, Writer Don Thompson Writer You need to be logged in to continue. Click here to login or here to sign up. Global s focus the search bar p open profile menu esc close an open window? open keyboard shortcut window On media pages b go back (or to parent when applicable) e go to edit page On TV season pages → (right arrow) go to next season ← (left arrow) go to previous season On TV episode pages → (right arrow) go to next episode ← (left arrow) go to previous episode On all image pages a open add image window On all edit pages t open translation selector ctrl + s submit form On discussion pages n create new discussion w toggle watching status p toggle public/private c toggle close/open a open activity r reply to discussion l go to last reply ctrl + enter submit your message → (right arrow) next page ← (left arrow) previous page.
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February 27, 2020 10:39PM PT A desperate woman’s good intentions make a bad situation much worse in this tense and twisty Southern noir thriller. In the opening moments of “ Blood on Her Name, ” an arrestingly twisty and suspenseful Southern noir thriller in the tradition of “One False Move, ” we’re introduced to Leigh, the working-class protagonist played by Bethany Anne Lind, with a jarring close-up that is at once explicit and ambiguous. Her face is battered, her breathing is labored, and she appears to have just gotten the worst of it in a fight. But, then again, maybe not the very worst of it. The bloodied man lying in front of her, we quickly learn, isn’t just unconscious or injured; he is seriously dead. And even before she pauses before completing a 911 call, it’s quite clear that, whatever the reason for the guy’s recent quietus, Leigh views his inconvenient corpse as incriminating evidence. This is the first of several wrong decisions — most, but by no means all, made by Leigh — that propel the fatalistic narrative director Matthew Pope and co-writer Don M. Thompson have devised for “Blood on Her Name, ” a film that remains relentlessly absorbing for all of its compact 83-minute length largely because it places its audience in the position of helpless witnesses to a slow-motion trainwreck. Pope and Thompson shrewdly structure their story so that, right from the start, we’re prompted to have a rooting interest in Leigh, even before we know for certain exactly how culpable she is for — well, for what? A self-defense killing? A crime of passion? A violent conclusion to a criminal co-conspiracy? We learn the truth only gradually, as the filmmakers slowly unveil the motives of Leigh and other characters in the manner of someone slowly, almost tauntingly, peeling an onion. But, again, they persuade us to be instinctively sympathetic toward Leigh, thereby making it all the more nerve-wracking when she tries — belatedly, ill-advisedly — to do the right thing. If it seems like I’m being a tad evasive about plot particulars, well, that’s only because I am. Your enjoyment of “Blood on Her Name” likely will be inversely proportionate to how much you know about it ahead of time. Leigh — played by Lind throughout the movie with exceptionally compelling and emotionally precise skill — owns the none-too-successful small-town garage where the act of violence takes place, and she’s anxious to move the body as quickly as possible, as far away as possible. But she has a change of heart before she dumps it into a nearby lake. Rather, she feels that the dead man’s girlfriend and teenage son are entitled to have some sense of closure, or at least find comfort in the knowledge that the guy didn’t simply abandon them. So she stashes the corpse in a shed at the trailer park where they reside, and leaves behind an anonymous note expressing regret. It’s a decent thing to do, but also a terribly self-incriminating mistake. And to make matters worse, the note isn’t the only thing she leaves behind. As Leigh’s mistakes accumulate, we’re periodically given jigsaw-piece revelations about why she is doing what she’s doing, and how much what she’s done in the past is an impetus. The info comes mostly through her contacts with such vividly defined supporting characters as Ryan (Jared Ivers), her teenage son, whose own violent behavior could make him a prime suspect; Richard (Will Patton), her estranged father, a sheriff who’s willing to bend and break a few laws to protect his daughter; Rey (Jimmy Gonzales), a mechanic who appears to be Leigh’s sole remaining employee at her failing business; and Dani (Elisabeth Rohm), the victim’s girlfriend, who turns out to have more than a little in common with Leigh. The interactions and miscalculations interlock with what feels like the inevitability of unforgiving fate. At the same time, however, you are never not aware that one smart move could possibly forestall disaster. Everything leads inexorably to a dead-solid-perfect denouement that suggests a perfect moral for this drama about desperate characters driven to extremes: Once you’re well along on the road to perdition, it may not be a good idea to attempt a detour. Leaders of the Directors Guild of America have approved a three-year successor deal to the DGA master contract, triggering a ratification vote by the 18, 000 members. The DGA national board announced Saturday that it had approved the deal unanimously. The guild revealed that the agreement includes a significant increase in residuals for high-budget streaming content, pension, [... ] In “Last and First Men, ” Tilda Swinton is the literal voice of the future: a disembodied narrator from the hyper-evolved “eighteenth species” of humanity, calmly but desolately reaching out to us from a world some way past 2, 000, 000, 000 A. D. Given that we always suspected as much about Tilda Swinton, it’s a comforting choice: the one [... ] The Cinequest Film & Creativity Festival will push back its second week of programming to August due to concerns over the coronavirus. Co-founders Halfdan Hussey and Kathleen J. Powell made the announcement in a statement released on Saturday. “We want to make clear that our very first concern is for the health and well-being of [... ] Disney-Pixar’s fantasy film “Onward” is dominating North American moviegoing this weekend, opening with $40 million at 4, 310 locations, estimates showed on Saturday. The figure is at the low end of pre-release forecasts, which had pegged “Onward” for a launch in the $40-45 million range. The movie centers on a pair of teenage elf brothers — [... ] The American Film Institute has postponed its Life Achievement Award gala due to concerns over the spread of coronavirus. The annual ceremony, set this year to honor Julie Andrews, was scheduled to take place April 25 at the Dolby Theatre in Los Angeles. The event will be rescheduled for a date in early summer. “AFI’s [... ] Dave Bautista’s “My Spy” is moving its North American release date back a month to April 17 in order to take advantage of a recently cleared slot for the family comedy. After “No Time to Die” was pushed from April 10 to November due to the coronavirus slowing the global box office, “Trolls World Tour” [... ] Remi Chayé’s “Calamity, a Childhood of Martha Jane Cannary, ” Benoît Chieux’ “Sirocco and the Kingdom of the Winds” and “They Shot the Piano Player, ” from Fernando Trueba and Javier Mariscal, were among projects which caught attention at this week’s 22nd Cartoon Movie, which ran March 3-5 in the French port city of Bordeaux. The presentation [... ].
Blood on her name jpg. Blood on her name 2020 movie. Blood on her name movie. Blood on Her name index. Blood on her name embargo. Blood on her name movie 2020. Blood on Her name search. Blood on her name preview. Blood on her name poster. | Odie Henderson February 28, 2020 Noir is full of characters doing unreasonable, unwise or just downright stupid things to achieve some untenable goal. Their choices are criminal, driven by the basest instincts and are often wrapped in a delightful, hardboiled amorality. The plot situations escalate, tightening the screws as the antiheroes become more and more desperate. These people inhabit a bitter little world where there are no happy endings. Everybody has a fatal flaw and doing the right thing never crosses anyone’s mind. The self-described “Southern Gothic neo-noir” “Blood on Her Name” attempts to tweak some of the aforementioned qualities of noir by saddling its protagonist with a conscience. It’s a bad decision that might have worked had co-writer and director Matthew Pope structured the film differently. What starts out as an intriguing cover-up of a murder becomes more and more hopelessly convoluted by the film’s insistence on delivering its information to you in drips and drabs. Allowing the viewer to piece things together on their own is always welcome, but the film’s desire to surprise and outwit makes it contrived. Advertisement Leigh ( Bethany Anne Lind) is beholden to doing right by folks, whether it’s her juvenile delinquent son, Ryan ( Jared Ivers) or the family of a man whose murder she may have committed in self-defense. Not that she’s a saint—at times, she lashes out unfairly in anger and she’s on some kind of pills whose dose, according to her dealer, depends on how much she wants to forget. She’s also the ex of a convicted felon whose arrest had something to do with turning her place of business into a chop shop. Those illegal activities come back to haunt her immediately after fade-in. Aided by the moody and atmospheric color cinematography by Matthew Rogers, “Blood on Her Name” opens with a riveting post-murder sequence. The victim lays in a huge puddle of congealed blood on the floor of an auto garage, a bloodied wrench near his body. We hear Leigh’s terrified, labored breathing on the soundtrack before we see her huddled in a corner. The pacing is very good here, allowing us to watch as Leigh considers the best course of action. She wraps the body, cleans up the crime scene, takes the weapon of choice and hauls ass out of there. She disposes of the wrench in the lake as she paddles across it in a boat, but takes the body with her. It’s clear that Leigh is no master criminal, but she makes mistakes that would get you an F in Committing Crime 101. For starters, her auto body shop has a security camera and has recorded the entire murder. She tosses the CPU into the dumpster without even bothering to erase it. I can buy that part, I mean, this is a small town and it’s doubtful anyone would go dumpster diving for tech products. What she does next I most certainly did not buy. She disposes of the body in the house of the man’s relatives, leaving an anonymous note in their mailbox that basically says “My bad! Sorr-reee! ” “They deserved to know, ” she tells her estranged father, Officer Richard Tiller ( Will Patton). Otherwise, it would have weighed on her conscience. “Blood on Her Name” tries to justify this by presenting several flashbacks featuring a young Leigh ( Chandler Head) and Tiller. Seems her dad’s a corrupt cop, placing him firmly in the trenches of noir. Sometimes Leigh talks to her younger self, other times she walks into these flashbacks and observes. It’s a clunky device but these scenes are well shot and edited. Officer Tiller murdered a suspect in cold blood, then apparently disposed of the body. I assume that Leigh’s childhood concern that the victim’s family were left with no clue of his whereabouts contributed to her decision to hand deliver his corpse. But noiristas like me gotta wonder: If your Dad’s corrupt, on the police force, and is adept at making bodies disappear, wouldn’t you call him if you were in the most dire of straits? He seems to be the only cop in town, too. We’re led to believe that her resistance stems from not wanting to figuratively sell her soul to the Devil, but considering her situation, Satan already has her soul on layaway. One of the smarter things “Blood on Her Name” does is not re-stage the murder for us. All we see is the aftermath; the details are eventually filled in using dialogue. Of course, it turns out that this is a more complicated crime than we were first led to believe, and Pope and his co-writer Don M. Thompson add a protective, maternal dynamic to the proceedings that only works during the film’s climactic showdown between Leigh and Dani ( Elisabeth Röhm), the wife of the slain man. Röhm and Lind are excellent in their scenes together, all of which stem from a missing piece of jewelry plot device lifted straight from Hitchcock’s “ Frenzy. ” Of the male characters, Tiller is the only one who feels like he came with the neo-noir territory. Patton plays him with an unnerving menace mixed with crime-ridden common sense. Jimmy Gonzales is wasted as the clichéd minority whose sole existence is devoted to helping out the White lead, though at least he doesn’t get that character’s usual destiny and he has some chemistry with Ivers. “Blood on Her Name” is really onto something with Dani and Leigh’s Mama Bears protecting their cubs subplot, but by the time Leigh realizes she’s truly a chip off her Papa’s old block, too much frustration with her character had set in for me. Shakespeare said “conscience does make cowards of us all. ” Here it just makes you a lousy crook. Reveal Comments comments powered by.
Blood on Her name name. Blood on her name 2019 movie. Blood on her name (2019) english. Blood on her name imdb. February 25, 2020 Posted in Out in Theaters Tagged Bethany Anne Lind, Blood on Her Name, Don M. Thompson, Elisabeth Röhm, Jared Ivers, Jimmy Gonzales, Matthew Pope, Out in Theaters, Reviews, Will Patton Leave a comment In the same vein as an early Coen Bros crime yarn or a blood-stained Jeremy Saulnier shoot-em-up, Matthew Pope’s Blood on Her Name is a homegrown working-class tale of bungled domestic criminality and the hefty price of conscience. With similarities to homegrown crime fiction like Blue Ruin, Cold in July, Calibre, and A Simple Plan, Pope’s Blood on Her Name begins with accidental death and quickly spirals beyond the realm of control. Read More.
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