Jolt: Film Review
What Shake it lacks originality and subtlety, at least it makes up for it a bit in verve. The sardonic action comedy, starring Kate Beckinsale and Stanley Tucci, follows the adventures of a revenge-seeking woman who suffers from debilitating anger management problems. Directed by Tanya Wexler (Hysteria), the genre film with a predictable plot is best suited for viewers who don’t mind exchanging a riveting narrative for heavy doses of body hitting, building explosions, and car chases. (Jolt: Film Review)
Lindy (Kate Beckinsale) has never been normal. As a child, the film’s efficient opening voice-over tells us, she struggled to control her anger in the face of injustice. If a child snatched the piece of cake or bullied her, Lindy would retaliate quickly, sticking her classmates’ heads in dessert or hitting them with a bat. Her parents, haunted by their own problems, found her uncontrollable and eventually sent Lindy to a facility, where she began life as a lab rat. They pricked her, probed her, evaluated her, and tested her. Her condition, aptly named intermittent explosive disorder, interested scientists and researchers around her.
Jolt: Film Review
Don’t take it too seriously.
Fast forward a couple of decades and Lindy, now an adult, leads a somewhat normal life. She has – well, Dyed – a job as a gorilla (until she was fired), she regularly visits her psychiatrist, Dr. Munchin (Stanley Tucci), has an apartment furnished with plastic cutlery and can control her anger with a specially made device that sends electric shocks to through it. body with the click of a button. Oh, and she even has a hot date with a nice, normal man named Justin (Jai Courtney).
Their first meeting ends before it actually begins. Lindy loses her temper with the waitress and the body hits the woman in the bathroom before running out of the restaurant. But Justin doesn’t seem to mind her erratic behavior and, in fact, on their second date, he tells her that she’s not afraid. Lindy, who has spent most of her life lonely, immediately accepts Justin, and the endorphins of an early-stage crush even help her control her flashes of resentment.
The temporary euphoria comes to a sudden halt when police find Justin dead just before the couple’s third date, just one of several dramatic twists throughout this baffling movie. At the police station, detectives Vicar (Bobby Cannavale) and Nevin (Laverne Cox) question Lindy about Justin, and their questions lead her to realize that she never really knew the man. That unfamiliarity doesn’t stop him from trying to find his killer and avenge his death. Jolt: Film Review
Shake It’s not a terrible movie, which is certainly not to say it’s a good one. His over-reliance on tricks to elicit undeserved emotions in the viewer often makes him feel cheap. (If anything, the soft piano music that plays as Lindy and Justin walk the dock in their nameless town, and the high-contrast ambient lighting during their sex scenes, gave me secondhand embarrassment more than anything else. Not once did I believe these two were falling in love.)
Scott Wascha’s script also leaves more questions than answers. Don’t get me wrong, I don’t mind seeing Beckinsale kick butt or Tucci delicately uttering ironic lines, but the inconsistencies add up frustratingly. It’s not entirely clear how or when Lindy’s temper will flare, and while that might be a narrative tactic meant to emphasize her relative uncontrollable, she ultimately feels neglected.
The film’s considerable amount of action, for many viewers, will make these shortcomings easier to overlook. As Lindy gets closer to finding out who murdered her lover, she finds herself in increasingly dangerous situations. Not only does she have to confront the mysterious person behind Justin’s death, she is now also a suspect in the police investigation. Shake offers some exciting antics: Lindy steals a car for a high-speed chase scene with the police, scale buildings, beat up professional fighters, blow up her apartment and more.
Wexler opts for close-ups to show the range of Lindy’s anger and choppy jump cuts to mimic the disorienting nature of her condition. The fight scenes are agile, brutal, and efficient.
At the end of Shake, I found myself haunted by the nagging question, “What, exactly, did I just see?” Part of me resented the premise that this woman in savage fury would be tempered by a man, a notion that feels at odds with the consciously feminist lines that run throughout the film. However, I finally stopped thinking about it. The movie doesn’t take itself too seriously; I decided that neither did I. Jolt: Film Review