‘In Cold Light’ Review: Maika Monroe and Troy Kotsur Headline a Flawed but Fast-Paced and Sharply Acted Crime Thriller

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Movies featuring drug dealers in distress aren’t exactly groundbreaking, but the Canadian thriller “In Cold Light” offers a fresh take with its strong ensemble cast and fast-paced rhythm. The movie often prioritizes emotional intensity over storyline coherence, leading to some lingering questions. However, given the speed at which it moves, there’s little room for criticism as you’re swept along by its momentum.

In my perspective as an ardent moviegoer, the story commences with my character, a tenacious yet misguided young woman named Ava (portrayed by Maika Monroe), being apprehended and incarcerated. Following a couple of years in confinement, I’m set free and make my way back to my deaf father, skillfully played by Troy Kotsur, the illustrious Oscar winner from CODA, and my twin brother Tom (Jesse Irving). Despite my intentions to turn over a new leaf, Tom remains entrenched in the drug trade, making it challenging for me to break free. A fateful encounter with law enforcement sets off a chain reaction, and before I know it, I’m fleeing from a formidable horde of ruthless criminals.

Monroe has earned a loyal fanbase through her earlier films like “It Follows” and “Longlegs”, and she portrays a tough, gritty yet vulnerable character that keeps us hooked. When she ends up caring for Tom’s baby, she must discover her nurturing side beneath her hardened exterior. Ava is not the typical heroine, but Monroe ensures we root for her survival, which is by no means certain.

The movie represents the first English-language venture for French-Canadian director Maxime Giroux. With his extensive background, he skillfully propels the story at a fast pace, filled with non-stop dangers for the determined and resilient character Ava. Scenes involving her father offer a brief pause from the continuous violence, yet leave us yearning for more insights into his past. It seems he was once a well-known figure in rodeo circles, but this aspect of his history remains underdeveloped.

Maxime Giroux, a French-Canadian director making his English-language debut, skillfully navigates the movie with its fast-paced narrative and numerous perils for Ava, a strong and resourceful character. Scenes involving her father provide a brief reprieve from the incessant violence, but they leave us eager to learn more about his past. Apparently, he was famous in rodeo circles, but this aspect of his history is only lightly touched upon.

Despite being typical of drug-and-crime thrillers, the cinematography of Alberta’s breathtaking landscapes adds a unique texture to the film. Cinematographer Sara Mishara plays a crucial role here by keeping our interest even during scenes where brutality may overpower the characters.

In this portrayal, Kotsur exhibits the same rugged wisdom and kindness that captivated spectators in the film CODA. Additionally, there’s another Oscar laureate within the ensemble: Helen Hunt, who receives prominent credit at the start of the movie. However, her appearance is delayed for so long that we ponder if another Hunt might be in the cast and unnoticed. The leading actress from Mad About You and As Good as It Gets eventually makes her entrance around the 80-minute mark as the drug lord, seemingly orchestrating all the chaos in the movie thus far. Hunt delivers her solitary scene competently, yet it leaves one to speculate whether a richer subplot may have been omitted from the final cut.

As a fan, I’d say this movie is a gritty genre piece, heavy on action but elevated by the cinematography and performances. What truly sets it apart is how the filmmakers manage to make you cheer for Monroe’s character, despite her operating in such questionable surroundings. It’s a feat that deserves respect.

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2025-06-17 01:54