When it comes to police movies, Jake Gyllenhaal and Antoine Fuqua are in good shape. Gyllenhaal has a great Buddy Cop Thriller End of Watch on his resume, but Fukua definitely attaches to all his future work “from the Director of Training Day.” Like the latter, Guilty, a redevelopment of the Danish drama of the same name that was finalized in the 2018 Oscar, is centered around flawed cops. And while approaching the original by mimicking the emotions of a tense single, it has enough freshness and excellent protagonist to justify this Americanized version. It’s good to put Guilty in the space of Joe Baylor’s (Gillenhall) mind, even in front of the presupposed deadly phone call. It’s clear that he’s already experienced a terrible, horrifying day, between painful headaches, separation from the family, and indefinite quarrels where journalists don’t call him. He is neither good nor very bad. It gets worse exponentially when she answers a call from her upset Emily Ryton (Riley Keough) who claims she was kidnapped by her husband Henry (Peter Sarsgaard). Baylor promises to save Emily and her 6-year-old daughter soon, even though she knows only part of the big picture. The movie is awesome while Baylor makes a series of emotional calls. Nick Pisorat’s script slowly sprinkles important details while increasing the urgency of the situation. In this regard, setting up a movie against the backdrop of a fire of anger in Los Angeles, where police officers were scattered, is one of many wise decisions. The other is a statement about the US police. Baylor was turned off to call a deliveryman by the LAPD street cops. And we finally found out why it rang without feeling.
Without a compelling protagonist in the middle of Guilty, none of this would work, and Gillen Hall would do it. He concentrates on Baylor’s fleeting nature early on, but as he learns more about his personal situation and Emily’s case, the undercurrent of despair grows. When the two stories come together, Gillen Hall also improves the game and is rarely so exciting to watch. In fact, it doesn’t have the performance that feels like a phone. Keef has a good vocal twist like Emily-this is a role that requires the actor to be in a state of increased emotional distress throughout the film, but a subtle but effective way to keep things interesting. Variations are added. The same goes for Henry Van Sirthgard and Eli Goree as Baylor’s LAPD partners Rick, and the rest of the impressive cast who make a great effort to paint vibrant pictures of what we never see. I can say that.