…has tight, expressive, precise dialogue, especially if one understands twang and expressions straight out of the Southwest USA, circa 1980.
…features one of the scariest stalkers I have ever had seen in film, complemented by bewitching, suspenseful camera-work – I learned to be scared of this killer, and my fear of him and my dread of his actions and their consequences were used against me, so that in one sequence when he unexpectedly appeared behind an ex-partner who knew full well what the killer was capable of, I found myself tense in my GV cinema seat, heart thudding in my chest, knowing that the killer’s terrible weapon was going to be used but not sure when, forced to watch a back-and-forth between killer and to-be-killed play out until the killer tired of his game and nonchalantly squeezed the trigger and released the pressure on my chest.
…does not allow for easy interpretation – by me, anyway – but I thought it was somehow about the forces that are stronger than one’s will, the sort of forces that thwart best-laid plans and plot lives, and then I thought it was somehow also about the choices one makes, does not make and is forced to make.
I just realised that, if Llewelyn had chosen not to take the money, things would have been all right.
I still don’t get the title. I just don’t.