The movie industry is a multi-billion dollar business, but it’s also notoriously slow to change. That’s why it’s no surprise that the same old plot lines are still dominating the box office.
The i saw that coming a mile away meaning is when someone or something seems very predictable. It’s like they’re telling you what will happen next before it happens.
Netflix is the king when it comes to fulfilling the need to “find something to watch” due to the vast quantity of material accessible. The studio has almost standardized the quality of its film roster, and the results are extremely consistent, but the outcomes are far from ideal. The average Netflix release today is somewhere between terrible and acceptable, and with at least one new movie released every week, changing that level of quality in the near future may be difficult. Which of the following categories does Intrusion belong to?
Adam Salky directed Intrusion, which stars Freida Pinto and Logan Marshall-Green. The film recounts the tale of a couple who live in a beautiful home in a tiny town. When they are the victims of a home invasion, the wife begins to have questions about the motive for the crime and begins to unearth extremely hazardous truths.
Netflix’s film production has evolved into a fascinating phenomena to observe and analyze. Regardless of the circumstances, they have managed to release at least one new film every week, and while other streaming services have struggled to create fresh material, Netflix has enough. Intrusion, however, does not break the pattern in any way when it comes to the “new Netflix movie of the week.” In terms of tone, production quality, and narrative, the film is quite similar to many others.
What starts off as a great concept soon devolves into the same tired cliches and clichés that we’ve seen before in a slew of other movies. You’ll get the distinct impression that you’ve seen this before by the time the credits roll. It’s not terrible, but it’s also not great. It’s simply another unsuccessful effort to create something fresh by using the same techniques that so many other directors have used in the past. It’s dangerously close to the definition of insanity, yet Netflix and a slew of filmmakers continue to do it for some reason.
And it is the film’s most serious flaw. To generate pace, suspense, and mystery in a thriller, the narrative should lead you on a journey of questions, gradually revealing the solutions. Intrusion’s question is very quickly addressed, but the film continues to pretend that there isn’t one. It’s exhausting to watch Freida Pinto’s character realize something is wrong but do nothing about it, and behave as if the solutions aren’t there in front of her.
There is no surprise or catharsis when the end provides the anticipated solution to the riddle. There’s simply a deep feeling of relief that the film will be finished shortly.
Thankfully, Salky has two great lead performers who do a lot of the hard work in terms of taking the narrative seriously. Pinto and Marshall-Green come across as earnest performers trying the best they can, even when the character choices are illogical or even stupid. Marshall-Green, on the other hand, is an outlier. Throughout his career, he has proved to be a highly capable actor, capable of playing a wide variety of parts, from humorous to genuinely tragic. So there’s no doubt that he’ll be able to carry off a job like this. The issue stems from the character’s aesthetic style, which was applied by the producers. You know who this guy is and what he’ll do from the minute you see him on camera. Taking away any feeling of surprise and, if feasible, making an already predictable film even more predictable.
Pinto, on the other hand, is still the beautiful face we all remember, but her acting skills have vastly improved in recent years. Her character, on the other hand, does not defy any classifications. You know exactly what she’ll do and what will happen to her, and you won’t be wrong. None of the performers are terrible, but the material they’re dealing with is depressing, and they can’t do much to improve it. When Pinto’s character journey draws to a close, it seems like a rushed conclusion.
The film is well-shot in terms of aesthetics, and the home that acts as the primary setting is stunning. It’s a pity Salky doesn’t know how to make the most of the scenery and the home, since the film seems flat and lifeless as a result. There were so many excellent possibilities for visual storytelling and pushing the arrangement of the pictures in new directions here. Salky, on the other hand, does not seem to be that type of filmmaker, and has no interest of becoming one with such goals in mind.
The film also only works on a surface level; there is no commentary in any way in the narrative. It isn’t required. There are a lot of films out there that are exactly what they seem to be, which is great. However, since the implementation is weak, it seems like the endeavor has come to a halt. There isn’t much more to say.
Intrusion is a pointless activity that will leave you slightly amused or totally bored by the end. The Netflix movie machine needs material, and it needs a lot of it, but if the only way to acquire that content is to keep reducing the quality, it’s difficult to say if it’s worth it.
Let’s hope that in the next years, the quality will catch up to the quantity being provided.
