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Thriller 1 hours 30 min Director Max Pachman 2019 summary In BENEATH US, the American Dream becomes a nightmare for a group of undocumented day laborers hired by a wealthy couple (played by Lynn Collins and James Tupper). What they hope to be their biggest payday turns into a terrifying fight for survival at the couple's secluded mansion, and those thought to be helpless must prove they can't be discarded so easily creators Mark Mavrothalasitis, Max Pachman.
Angry, brutal, and more than a little campy, Max Pachman’s directorial debut “Beneath Us” is a thriller with a lot on its mind. Subtlety is not one of those things, but when has subtlety ever been part of a recipe for exploitation cinema? “Beneath Us” may be brand new, but it plays like the kind of overlooked yet fascinating B-movie rediscovery that Vinegar Syndrome would dig up out of the 1970s and unleash upon a grateful grindhouse marketplace. “Beneath” stars Rigo Sanchez (“Animal Kingdom”) and Josue Aguirre (“Veronica Mars”) as Alejandro and Memo, two undocumented workers who stand outside a lumber mill every day in Eagle Rock, Calif., looking for contracting work. Alejandro wants to save money to bring his wife and son over the border to join him. His younger brother Memo has come to America for mysterious reasons and seems to harbor a lot of mixed feelings and resentments about his older brother abandoning his family. Watch Video: Netflix Orders Selena Gomez-Produced Docuseries 'Living Undocumented' - Watch Trailer Here Alejandro and Memo seem to have struck pay dirt when they talk a rich white woman, Liz (Lynn Collins, “Bosch”), into paying them $500 each for fixing up a small guest house. With a few other day laborers, they set about sawing wood, sanding walls, fixing floorboards, never really questioning why Liz’s isolated and spacious estate is surrounded by an electrified fence, or why the power drill she supplies them has flecks of blood and matted hair on it. As evening falls, our heroes would very much like to go home, but Liz and her husband Ben (James Tupper, “Big Little Lies”) won’t pay them unless the work is finished, and they don’t take kindly to laziness, like trying to get some sleep. Microaggressions and low-key racism gradually escalate into shocking violence, as Alejandro and Memo finally realize that they’re being treated like expendable slaves, not human beings. Ostensibly, “Beneath Us” is Alejandro and Memo’s story, but Lynn Collins’ villainous performance takes up the most space. Her portrayal of a woman blinded by racism and affluence, who thinks nothing of stomping someone to death with her high heel but teeters into nearly psychotic rage when someone forgets to use a coaster, is a farcical spectacular. Her performance is a living, breathing, stiff middle finger to racists everywhere, and a demand ? practically at gunpoint ? to deny dehumanizing monsters any shred of dignity. Watch Video: ShortList 2018: How 'Debris' Director Built Thriller About Undocumented Construction Workers The irony, though, is that Collins’s deliriously over-the-top performance doesn’t leave a lot of space for Sanchez, Aguirre and their co-stars, with whom our sympathies are supposed to lie. By spending more time focusing on the torturers than the tortured, “Beneath Us” sidesteps suspense (and the possibility that our heroes might escape) in favor of extended depictions of merely ugly violence. It’s an unbalanced approach to the horror genre, but it doesn’t seem to be accidental. If anything, the sidelining of Alejandro and Memo seems to be carefully calculated: Their stories are obviously rich and fascinating, touched upon in little details and unspoken reveals. But “Beneath Us” never tells their whole life stories. Why? Because nobody in the movie cares enough about them to ask. It’s a pointed and thoughtful storytelling conceit that is, simply, undermined by letting the evil racist killers soak up all the screen time instead. What “Beneath Us” successfully achieves, however, is the sensation of undeniable horror. The red flags are bright red, but as Alejandro and Memo’s co-worker Hector (Roberto Sanchez, “Flavor of Life”) argues, that’s the status quo for undocumented workers. White Americans are told to stay away from unmarked white vans while, Hector observes, he needs to jump inside to make a living. The dangers and dehumanization come part and parcel, and “Beneath Us” takes those threats to horrific but pointed extremes. Also Read: 'Swallow' Film Review: Haley Bennett Stars in a Horror Tale with Too Many Unanswered Questions Once the cards are all on the table and “Beneath Us” settles into its terrible sequence of events, the movie loses a little steam. Our heroes are being asked to dig their own graves, figuratively and maybe even literally, and their only reward is to lie in them. The grimness takes over after a while and never seems to let up, but the excellent score by Joshua Moshier (“Baskets”) adds anxiety into the mix with a piercing, tinnitus squeal of string instruments, and the pastoral cinematography by Jeff Powers (“NOS4A2: Ghost”) insidiously evokes cinematic tales of the rural South prior to the Civil War. It’s the finale of “Beneath Us” that was, perhaps, destined to make or break the film. Pachman’s film never entirely escalates to the grand conclusion we’re predicting, but the finale is well-earned and tense, and at least one of the climactic shocks is as terrible and terrifying a moment as can be found in any movie in recent memory. A brief but unpredictable change in the film’s storytelling vocabulary, smartly executed by editor Taylor Alexander Ward ? a music-video vet ? leaves our nerves completely obliterated and affords them no time to heal. “Beneath Us” lacks refinement, but that’s like saying blunt force trauma lacks elegance. The movie exists to throw contemporary racism into sharp relief by drawing a vivid parallel to the worst chapters in American history, and it’s undeniably effective. Collins brings a lot of camp value to an otherwise depressing narrative, and her Russ Meyer-inspired characterization eventually gets a little distracting, but the filmmakers don’t make the mistake of confusing her inhuman wickedness for fun. “Beneath Us” never lets the exploitation cinema elements get in the way of the serious conversation about actual, real-life exploitation. That makes it frightening, and that makes it bold. ? 11 Latin American Films That Defined the 2010s, From 'Roma' to 'Zama' and More (Photos) “No” and “A Fantastic Woman” rank among the region’s most influential films of the decade A region bustling with the winds of change throughout the 2010s -- both progressive and retrograde -- Latin America enjoyed a banner decade that witnessed the rise of films grappling with economic inequality, indigenous discrimination, and LGBTQ+ issues. Mexico’s production continued to skyrocket (from Amat Escalante to Eugenio Derbez), Chile emerged as a powerhouse in both the arthouse and mainstream markets (with the Larraín brothers’ Fabula production company and the unofficial movement known as Chilewood), and countries like Panama (“Invasion”), the Dominican Republic (“Woodpeckers”), and Paraguay (“The Heiresses”) made strides towards a more consistent output of noteworthy offers. Although far from a definitive list, these 11 features give the world the opportunity to take a peek at the varied perspectives of Latin American creators, veterans and up-and-comers.
Beneath used in a sentence. Sooo this has nothing to do with Kurt Cobain. MOVIES 9:46 AM PST 3/4/2020 by Courtesy of Vital Pictures More exploitative than provocative. 3/6/2020 Lynn Collins and James Tupper play a rich white couple who hire undocumented immigrant workers for nefarious purposes in Max Pachman's horror thriller. Horror movies these days seem to require strong doses of social commentary along with the requisite scares. Its theatrical release conveniently sandwiched between the feminist-themed The Invisible Man and the elites vs. deplorables thriller The Hunt, Max Pachman's directorial debut Beneath Us concerns a rich white couple exploiting undocumented immigrants before torturing and unceremoniously disposing of them. Unfortunately, despite its uncomfortable resonance, the pic barely scratches the surface of its provocative ideas, sacrificing nuance in favor of cheap shocks. The film begins realistically enough, with rich white woman Elizabeth (Lynn Collins, X Men Origins: Wolverine, The Merchant of Venice) corralling a quartet of Mexican day laborers to work at the palatial home she owns with her husband Ben (James Tupper, Big Little Lies). The house bears an uncomfortable resemblance to a Southern plantation, with the addition of such modern embellishments as an electrified fence. It's but one of many properties that the couple have apparently renovated and then flipped for a profit. The men, including de facto leader Alejandro (Rigo Sanchez), who's desperately saving money to bring his wife and child to the U. S. ; his younger brother Memo (Josue Aguirre), who's recently arrived in America; and their cohorts Hector (Roberto Sanchez) and Antonio (Tomas Chavira), who are initially happy to be working for the sexy gringa about whom they make leering comments in Spanish behind her back. It soon becomes apparent that Elizabeth is not just willing to exploit illegal, underpaid workers, but is actually a vicious psychopath. She seems to firmly enjoy crushing some errant mice in her kitchen, and eventually she and her husband, both well-armed, reveal their true intentions, which is to force their prisoners to do their will and, once the job is done, murder them and leave their bodies underneath the house where they've just labored. Subtlety doesn't prove to be a major element in either the film's screenplay, co-written by director Pachman and Mark Mavrothalasitis, or the flamboyant performance by Collins as the men's evil tormentor (Tupper is much more subdued, almost to the point of blandness). The anti-immigrant arguments uttered by the white characters are extreme enough to make Trump rally attendees cringe. Collins leans into her sultry villainous role as if auditioning for Grand Guignol, whether using her formidable high heels as a lethal weapon or performing a sexy solo dance while brandishing a shotgun. At one point, her character makes the men strip down and work naked, as if to turn the tables on them for their previous lecherous comments. The would-be victims are at least given some depth in terms of characterization (and, refreshingly, much of their dialogue is actually in Spanish). One of the more resonant scenes involves Alejandro visiting a pawn shop to make a deal with its owner to arrange to transport his wife and child across the border, with the man telling him that children cost extra. Alejandro agrees, but insists that his family not be locked in a trunk for the journey. The man agrees, crossing his heart to seal the deal. Despite its provocative scenario, Beneath Us (the title, of course, is a pun) proves generic in its reliance on horror movie tropes, lapsing into familiar and not particularly well executed scenes of brutality and gore. The movie isn't nearly as smart as it pretends to be, exploiting its timely premise much in the same way that undocumented laborers are so often exploited by their employers. Production company: Vital Pictures Distributor: Vital Pictures/NME Cast: Lynn Collins, James Tupper, Rigo Sanchez, Josue Aguirre, Roberto Sanchez, Thomas Chavira Director: Max Pachman Screenwriters: Max Pachman, Mark Mavrothalasitis Producers: Luis Ignacio, Chris Lemos Executive producers: Jay Hernandez, Will Knochel, Brad Friedlander, Kevin Casebier Director of photography: Jeff Powers Production designer: Martina Buckley Editor: Taylor Alexander Ward Composer: Josh Moshier Costume designer: Rosalyn Isidro Casting: Lauren Bass, Jordan Bass Rated R, 90 minutes.
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City beneath us. Beautiful picture <3. Looks like Gabby lost a lot of weight! Good for her! This movie looks really sweet too. It's great that they hired real disabled actors. I would have expected them to just cast Scarlett Johansson in every role. Beneath us movie 2020. If Mia is there does that mean Brian is at home watching the kids? Also if Sean is there who's keeping Neela company? Was Nathalie Kelley not available for this? Also who's the drift king while Sean is away lol.
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Critics Consensus No consensus yet. 25% TOMATOMETER Total Count: 8 64% Audience Score Verified Ratings: 11 Beneath Us Ratings & Reviews Explanation Tickets & Showtimes The movie doesn't seem to be playing near you. Go back Enter your location to see showtimes near you. Beneath Us Videos Photos Movie Info The American Dream becomes a nightmare for a group of undocumented day laborers hired by a wealthy couple (played by Lynn Collins and James Tupper). What they hope to be their biggest payday turns into a terrifying fight for survival at the couple's secluded mansion, and those thought to be helpless must prove they can't be discarded so easily. Rating: R (for violence, language and some nudity) Genre: Directed By: Written By: In Theaters: Mar 6, 2020 limited Runtime: 90 minutes Studio: Vital Pictures Cast Critic Reviews for Beneath Us Audience Reviews for Beneath Us Beneath Us Quotes Movie & TV guides.

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