Red Right Hand

Red Right Hand
Red Right Hand
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Another movie that could be termed as a “bad guy wants to go good” flick is Red Right Hand. Most of the time, we are subjected to the numerous scenes of violence and bloodshed without even a proper context. It is important to note that the film largely follows a character-driven plot on Cash (Orlando Bloom) who has decided to live a normal life with his brother-in-law and niece after grappling with his past.

On his mind, he had an emphasis in redemptive path which says “god, family and survival.” Basically, she seems like something out of Sons of Anarchy’s earlier drafts for Big Cat (Andie MacDowell) alongside her gang but still functions as Cash’s retribution for bygone sins and trial for future.

Red Right Hand Is A Story That Is Better On Paper

In terms of theme, Easley MIGHT AS WELL HAVE BEEN ON YELLOWSTONE era Westerns where men straddling their morality was always accompanied by thoughts about their own mortality. People will definitely love the story narrated by Cash – if they are not already watching Orlando Bloom in it. The most valuable part of Red Right Hand is when it focuses on introspective themes. However, there can only exist one crime thriller that is not run-of-the-mill with its bad guys trying to kill the guy who is trying to leave.

The Nelms Brothers Do Well In Creating A Mood With Images But Sometimes Overlook Those Precious Moments.

Despite being more interested in storytelling based around themes or characters’ stories over any actual action sequences such as those found in most action thrillers , this movie tries hard enough other than just being what it is. It achieves some goals sometimes but mostly stays conventional.

Orlando Bloom Ditches His British Charm For A Rugged American Country Drawl

Without doubt Orlando Bloom happens to be the biggest attraction for Red Right Hand viewership. He sufficiently paints himself in the role of a tough and silent figure. Cash is supposed to protect his nearest and dearest, but with his past bringing its foot down on their throats he has no other choice than to engage in violence or crime. As a man of God now, it seems like He did this on purpose as an examination for Cash’s patience, faith and morality. And then Bloom is the perfect person to play such a character who through some means or another finds himself fighting towards redemption and saving his family.

However, at times Bloom feels a little mechanical rather than stoic, which can only be because he is concentrating too much on maintaining an American accent. The creation and dedication to its appropriate rural accent distract from more emotional scenes. If Bloom were allowed to speak freely in his natural English accent, with that being said, acting could be improved by talking about the narrative familiar to him. Despite sounding pretty shallow here concerning his performance overall as one of Red Right Hand’s few virtues; it remains noteworthy.

Conventional Filmmaking Diminish Strong Narrative Choices

With a rather localized trajectory, Red Right Hand has. It is clichéd and familiar, sometimes veering close to the eye-rolling tropes and stereotypes that detract from its main themes. Nonetheless, it does stay on course while it progresses its moral inquiries as Cash sinks further into the bloody quagmire involving Big Cat. Easley plays around with some basic modern Western tropes and still manages to come out with an engaging story but the point of failure here is that he and his directors offer a less poetic or moving ending than what would be fitting for the slow-burn tale they have so painstakingly built.

Bloom and MacDowell put in strong performances as they lead an ensemble cast which serves as a foundation for this gritty western; however Mondo Boys’ score and Johnny Derango’s cinematography help to imbue the film atmosphere with the themes and concepts underpinning it greatly. Nevertheless, Red Right Hand’s third act just doesn’t stick. Bloodily climactic and suddenly ending, it was just about enough.

What appears to be suddenness at first may eventually seem like nothing more than a way of wrapping up the plot. Although it may provide some satisfaction for others, theme-wise it doesn’t make good closure for Cash’s moral conundrum. In fact “God, family survival” has been rather clumsily brought full circle by the last line of dialogue in this regard alone can justify such a reading.

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