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genre: Drama, Crime
directors: Matthew Pope
Liked It: 26 votes
country: USA
Creator: Matthew Pope, Don M. Thompson
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Blood on her name vertical. Blood on her name reviews. Blood on her name yellow veil. There’s an entire sub-genre of slow-burn thrillers centered on everyday people forced by circumstance into a life and death world previously unknown to them. More specifically, the films are about a “good” person” who makes a choice ? out of anger, greed, foolishness ? that sets in motion a bloody chain of events requiring actions and reactions well beyond their wheelhouse. Two of the best in recent years are Blue Ruin (2013) and Bad Day for the Cut (2017), but in addition to being tales fueled by vengeance they’re also ones about men. Director/co-writer Matthew Pope ‘s feature debut, Blood On Her Name, goes counter to both as it focuses instead on a woman simply struggling to do right by her family, but as a tension-filled and devastating look at the inevitability of consequence it absolutely belongs in the same conversation. Leigh ( Bethany Anne Lind) stands over a dead body in the garage she owns. Blood pools from the dead man’s head, and while she comes close to calling the police, her fingers hesitate over the phone. Her teenage son Ryan ( Jared Ivers) sits afraid and shaken in another room, and with worries about him, painful memories about her own father ( Will Patton), and the fate of her already struggling business swirling in her head, she decides instead to dispose of the body. It’s a decision born from desperation, and it’s one complicated by her own morality ? the dead man has a family of his own, and not wanting to leave them trapped in a purgatory of not knowing what happened to him, she instead returns the body to their shed for them to find. No good deed, as they say. Blood On Her Name wisely drops viewers right at the moment of emotional conflict ? the dead man, and the choice that will haunt what follows. Leigh’s problems began far earlier, though, and the film slowly teases those origins out across its running time revealing her to be a character more informed by her past than defined by it. Some of her issues come as a package deal with being a woman and a daughter, but while they try to pull her backward it’s her ferocity and determination as a mother that keeps her fighting forward. Pope’s script (co-written by Don M. Thompson) accomplishes this dynamic best through conversations between friends, family, and strangers, but it stumbles slightly with a handful of flashbacks that struggle to fit the film’s otherwise starkly pragmatic tone. We’re grounded in Leigh’s reality, a world smeared equally in blood, tears, and grease, and lucid dreams/memories that see her alongside her younger self feel too far removed. They’re a minor distraction, though, as they’re both infrequent and overshadowed by the rich character interactions revealing far more effectively the weight of family and history. Leigh’s relationship with her father is especially telling as the source of much of her trouble, but the film wisely refuses to lay it all at his feet. It isn’t pointing fingers, and while Leigh is tempted to she’s instead compelled to accept her own role in this current predicament. As with 2008’s Frozen River, this isn’t a film about a female victim as it’s instead the story of a complex woman weighed down by choice and consequence. Decisions made by the men in her life have undoubtedly helped shape her, but it’s her own that carry the ultimate weight. Both the script and Pope’s direction avoid flashiness preferring instead to let tensions and anticipation simmer on their way to outbursts both verbal and violent. Dialogue is economical at times, and while the necessary details come through, the bulk of their power comes packed in exchanges between Leigh and her father. Lind and Patton both give achingly controlled performances here as a daughter and father marked as deeply by their shared trauma as by their individual sins, and while dialogue provides the details it’s their faces that tell the story. Patton’s no stranger to intense characters, and it’s once again a factor here as his attempt towards mending past transgressions only serves to ratchet things up further. Similarly, Lind plays Leigh as a woman brought her through forces beyond her control ? but trapped here through actions of her own. The title is as applicable to her family name as it is to given one, and as she cycles through anger, resentment, guilt, and love, Lind’s portrayal reveals a woman hellbent on salvaging the scraps of her life and a future that she may not even be a part of. Guilt, PTSD, and a desperate desire to avoid a cycle of violence make for a powerful combination, and Lind makes her a woman worth caring about instead of one worth pitying. One quick note… Leigh’s choices throughout the film are the kind prone to critical scoffing ? “that’s dumb, I’d never do that” ? but as with the other films mentioned above they’re the kinds of choices made by real, average people in desperate situations well beyond their wheelhouse. It’s easy to point out “dumb” decisions on the screen from the comfort of our couch, but the only thing that matters is whether we believe these characters would make these choices under these conditions. Leigh’s situation is clear, her options are ugly, and she’s fueled by a single-minded goal. We believe her, and what follows is all the more tragic because of it. Blood On Her Name is a beautifully told tale of family, crime, and the price we sometimes pay for both. Elements here are shared with other, similar films featuring unprepared people in unfamiliar situations, but it stands as part of a very select grouping of movies that focus on a woman’s perspective. It’s ultimately a sad film, one infused with suspense and humanity, but that female perspective carries through to the very last line as an unexpected and haunting expression of guilt and concern.
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Blood on Her name search. Blood on her name online sa prevodom. Blood on her name last song lyrics. Blood on her name (2019) trailer. It begins with blood. Blood creeping on cold concrete. A woman looks rattled, she’s spattered and a bit battered, but the blood is not hers. She looks down at a dead man, the blood creeps from his cracked skull. The harrowed gasps that escape her split lip is her only companion in a mechanic’s garage with a fresh corpse and a grisly mystery. Blood on Her Name begins after the murder that is its inciting incident and invites you to follow its apparent killer in a clumsy and conflicted cover-up. Written by Don M. Thompson and Matthew Pope, Blood on Her Name is a baroque Western, stripped of cowboy hats, horses, and heroes. What’s left is outlaws, blood, and gut-twisting regrets. Single mother and mechanic, Leigh Tiller (Bethany Anne Lind) scrapes by in a world defined by men. The shadow of her imprisoned ex hangs over the garage they once ran together. The troubling delinquency of her son offers a daily challenge as she struggles to veer him away from the path of his father. Meanwhile, her own father is a gruff sheriff who butts into her business and her parenting at every turn. Then there’s the mysterious dead man on her floor, who threatens to tear her meager world to shreds. Leigh has to get rid of the body. But before she can dump it in a lake where it might never be found, the dead man’s phone rings with a message from his son. Aching for the family destroyed, Leigh decides to bring the dead man back to his people, leaving him in a place where they’ll be sure to find him. But her sympathy paves a path to her undoing, dropping clues that lead his kin to her door with suspicion in their eyes and vengeance in their hearts. As they close in, Leigh is forced to look back on the skeletons in her closet and consider how far she’ll go to protect her family from ruin. There will be no riding off into the sunset. There will be more blood shed. Helmed by Pope, Blood on Her Name is a lean and mean thriller that’s shouldered firmly by Lind. Like Logan, it’s a character-driven drama that entices us with the scent of blood in the air, then hooks our hearts with a story of violence, trauma, and a deep yearning for redemption. This desperate woman is no white hat or black hat. She’s a complicated figure who’s purposefully hard to figure out. She is as much as mystery as what happened the night of that first killing. Leigh doesn’t stride, swagger, cock her hips, or spin a pistol. She trembles. She cries in the shower. She stumbles into flashbacks of a formative and heinous childhood memory. And in every troubled step, Lind is mesmerizing. Her voice is soft, with a gentle Southern twang. When she speaks harshly, there’s a wavering that exposes her soft side, and potential weakness. Her eyes flicker with intensity, fear, and sometimes rage. The incongruity of her tenderness with the violence and the awful acts that come after is endlessly jarring, drawing us in to investigate and ponder the depths of darkness that might lurk in even the seemingly gentlest soul. For much of the movie, Leigh is a crumbling dam, trying frantically to hold back the flood of emotions that threaten to destroy her. Lind’s body practically vibrates with this tension, which is ruthlessly contagious. Together, she and Pope create a dark whirlpool of a story that sucks you in, plunging you into darker and darker depths, suffocating you in the suspense of it all. It’s a sensational ride, not only for the sick thrills but also because at its core beats an aching humanity. For like Leigh, those around her won’t be painted simply as good or bad. This is a backwoods Wild West of poverty, corruption, and violence, where the only choices given are bad. As you’re sucked into this story, who to root for becomes complicated and all the more compelling. Blending elements of crime-thriller and revisionist Western, Blood on Her Name delivers a uniquely exciting experience, where the spectacle is grim but the storytelling is defiantly?maybe foolishly?hopeful. There’s a deep wish that even the worst sins can be washed away, like blood from concrete. But some sins are too dark, staining everything they touch. Blood on Her Name is now in select US theaters and on VOD in the US, Canada, UK, and AUS, and NZ. Header Image Source: Rising Creek Next Article.
Blood on Her name change. Awesome man. She has blood in her name? So you're saying she got First Blood. Blood on her name cast. Blood on her name movie 2019. Blood on her name 2019 720p. Blood on Her Name by Mike McGranaghan Blood on Her Name opens with a dead body and a woman trying to decide what to do with it. From the start, you have questions: Who was killed? What happened? Who are we supposed to root for here? When you're hooked so thoroughly and so quickly, you know you're in for a ride. All those questions are answered as the story progresses, in a way that shows the film is more concerned with examining the impact of violence than with generating cheap thrills. This is a smart thriller about desperation. Bethany Anne Lind ( Doctor Sleep) plays Leigh Tiller, the woman dealing with the body. Leigh owns a garage, and we soon learn that she has inadvertently killed the man in self-defense. In a panic, she decides to hide the corpse and cover up what transpired. I won't reveal why this act occurred or who the man was. Instead, I'll just say that Leigh crosses paths with her estranged cop father (Will Patton) and the dead man's wife (Elisabeth Rohm) after the killing. In doing so, it becomes clear that she got herself into a bad situation that spiraled into something even worse, and might well keep on going. Now her concern is that what happened will negatively affect her teenage son Ryan (Jared Ivers), who has already been in trouble with the law. Directed by Matthew Pope from a screenplay he wrote with Don M. Thompson, Blood on Her Name puts its focus on showing the panicked decisions Leigh makes. Suddenly faced with the implications of a violent act, she looks frantically for a way to avoid any negative repercussions, only to realize that no such way exists. She must, therefore, try to assess which potential response would yield the least awful outcome. That creates real psychological suspense, ensuring that you remain hooked from start to finish. Lind is outstanding in the lead role. She makes Leigh's frantic search for a way out nerve-rattlingly authentic. The actress also convinces us of the character's empathy, despite being in a rather gruesome predicament. Leigh does something unexpected with the body that could have seemed implausible if not for the sincerity Lind beings to the role. She also has several powerful scenes with Patton, one of the most ultra-reliable character actors around. The dysfunctional dynamic they work up adds weight to Leigh's situation. With a short 85-minute running time, Blood on Her Name would have benefited from going even further in depth on the incidents that created our heroine's dilemma. The film needs a bit more in that regard to make the themes extra potent. Don't let that dissuade you, though. The look at how one woman responds when backed into a corner is gripping stuff overall, thanks to compassionate writing and a stunning lead performance. ☆ ☆ ☆ out of four Blood on Her Name is unrated, but contains adult language and some bloody violence. The running time is 1 hour and 25 minutes.
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