BLOOD ON HER NAME Review: A Darkly-Redemptive Exercise On Moral Flexibilty
Having found its way into festival favor in the past year, Matthew Pope’s feature directing debut presents a stunning, dramatic glimpse into middle-American suburbia in cerebral crime drama, Blood On Her Name. Opening with the shot of a tipped-over gas can, the movie begins with a follow-up shot of Leigh (Bethany Anne Lind), mildly wounded and struggling to compose herself after what appears to have been a physical struggle. A bloodied wrench lies next to the body of a seeming male assailant who is dead, his corpse lying in plain view of the open drive-in door of Leigh’s garage. The film follows Leigh’s every desperate attempt to hide the body before eventually dumping it in the shed of the owners related to the corpse. It is during this process that Leigh’s actions continue to weigh heavily on her mind as it slowly begins to affect her day-to-day routine as a […]
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