This was fucking horrific. This scriptwriter should be forced to find a new career. [spoiler]The second that Rosamund Pike was kidnapped, I thought to myself, "He's either going to propose, or they're going to go into business together. The problem was in getting to the point, where this actually happened. These Russian mobsters must've been the most incompetent buffoons on the planet to not be able to finish off two individuals, who they'd already pretty much brought to w/in an inch of their life. This was such an incredible stretch that it made this movie absolutely ridiculous.[/spoiler]

Aside from this, the fact that the writer tried to make these two women sympathetic characters screams that there's something really off w/ this writer. On what planet are people who take advantage of, and essentially murder, some of the most vulnerable members of society sympathetic?

On one last note, I've never been a fan of Rosamund Pike. I'd seen her in two previous films, where she was not good at all: Jack Reacher and Gone Girl. In the former, she's so melodramatic, it's difficult to watch, and it's even more difficult to take her character seriously. In the latter, although she's playing a character w/ Antisocial Personality Disorder, that doesn't necessarily mean someone devoid of affect, which is exactly how she played that role. She may as well have been a talking stump in that movie.

I wasn't going to watch this film for this very reason, but when she won the Golden Globe, I figured that she'd probably be pretty good. However, something about her just wasn't right. She had this odd grin in a lot of scenes, where it either didn't fit, or it seemed like it would've been inappropriate, if it had been a real-life situation. I just find her acting to be really off-putting. Luckily, both Peter Dinklage and Dianne Wiest are always top-notch performers.

The first 90 minutes of this movie are absolutely fantastic. They build up Marla as such a despicable, horrid creature that I was actively begging for the Mafia to get sick revenge on her.
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The last 30 minutes are Season 8 Game of Thrones level of terrible and ruin what was about to be one of my favorite movies this year. The steps they want to strain credibility were insane. Firstly her surviving after being drugged and put in the water were questionable. The mafia failing to kill her girlfriend was just...how in the world did they fail killing that girl?

Marla just fell in the water (and I'm not going into the 3 minutes she was able to kick in a glass front window underwater and maintain holding her breath), but she still has her wallet to buy things at the convenience store. She gets to her girlfriend literally just before the place blows up, which she had no control over because she literally waited for a taxi.

They complain that they have nothing left but the diamonds, and but they also apparently have a handy wig, a taser, some morphine knockout drugs to pull off some James Bond type of killing of Peter Dinklage. And then when Dinklage survives, he agrees to be her partner. Look, I get she's smart and was gonna kill it with the mafia. But the shit she did was unforgivable, and it strains my belief that Dinklage wouldn't just go out and torture her the first chance he gets. They did not present him as being a "money first" guy, so him overlooking the mother being thrown IN A PSYCHIATRIC WARD is nuts.
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Look, I enjoyed 70% of this movie. It was an excellent horror thriller to that point. I would've loved if this movie went the route of Dinklage and the mob being mostly outsmarted by the crazy, maniacally, absolutely dastardly woman. But that movie NEEDED to end with Dinklage personally killing Marla. No if, ands or buts, anything but that ending ruins the point they spent the rest of the movie going for.

It really hurts me to trash this movie, because Pike was fantastic again in her role as a villain and Dinklage really made me want his character to succeed. But that ending was the worst type of cop out possible.

Could this really happen? "Marla Grayson" (Rosamund Pike) is a scheming, manipulative creature who takes advantage of folk in difficulty (real or otherwise) so she can put them in managed accommodation, drugged up their eyeballs, whilst she realises, and disposes of, whatever assets they may have had on the outside. It's a clever network of conspirators - reliant on a justice system predicated on respect for the professional opinions offered to it by doctors, care home managers and, of course, by this thoroughly odious woman. She and girlfriend "Fran" (Eiza González) alight on their latest mark - "Jennifer" (Dianne Wiest) and all is going to plan before we discover that she wasn't quite the woman they thought, and that powerful interests have taken an interest in getting her free and her possessions back... Enter Peter Dinklage who manages to illicit a sort of comic menace (there's a fun scene where he shields his face from a bank camera as if to hide his identity, - amongst a great crowd of other men of his height - not!?) Anyway, he determines to have the woman freed and is a man of some considerable resource. "Grayson" fights back and what was, until now, quite an interesting story descends quickly into the realms of silliness. Her character is clever and shrewd, but as so often happens with these kind of films - she quickly acquires the skills of a trained ninja whilst he, the fearful gangster, ends up looking little more dangerous that yesterday's milk. It is almost as if someone wrote the first forty minutes or so, then went for a tea break and his 5 year old child finished it. Eventually, the ending did provide me with the result I wanted, coming from the left-field for a tiny twist and Pike is pretty good at the start - she depicts this heartless woman skilfully, raising heckles as she goes - it's just a shame that it all fell to pieces so quickly, and so thoroughly...

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When it comes to Rosamund Pike, it doesn't really matter the type of film she's doing, I'm always in. Her constantly dedicated, incredible performances strongly grasp me to the screen every single time, so I expected I Care a Lot to follow the same path. From the most recent Radioactive to one of her most famous roles in Gone Girl, passing through numerous other memorable displays, Pike just can't deliver a bad interpretation. Being this my first viewing of a J Blakeson's movie, and with Netflix offering their pristine production value, I must state that I'm surprised with how much I thoroughly enjoyed this film. Let me begin with what I think really makes this movie so attractive: its screenplay.

Pike and co. all deliver outstanding performances, and I'll get to those, but Blakeson's script is both crazy and smart. If the premise isn't clear enough, capitalism is a significant theme throughout the entire runtime. From the rich-poor depressing yet realistic comparisons to the ruthless competition between the so-called sharks of this economic system, I Care a Lot provides excellent parallelism to the real world. The not-that-implicit messages regarding this topic are mostly delivered by Marla Grayson, a protagonist who doesn't shy away from assuming her lioness status.

Possessing cunning knowledge of both the pros and cons of capitalism and its borderline legal cheats, the viewer accompanies Marla through her exceptionally captivating process of acquiring and profiting from a new target, just like hundreds of companies and CEOs around the world do without most people realizing it. When Marla finds a worthy competitor, Blakeson risks its grounded story, replacing it with an absolutely lunatic second half, characterized by absurd, out-of-this-world character and plot decisions, which would be a major issue if its purpose wasn't precisely to show the ridiculous - and criminal - ambition of top-tier capitalists.

I can't deny it gets a tad too mad and irrational for my taste, but having in mind the context and Blakeson's goal, I consider it a mostly successful play. Plus, the entertainment value doesn't drop, much on the contrary, it skyrockets to a point where I welcome some of its craziness. The third act boasts tremendous tension and suspense, slightly unexpected developments, and a shocking yet utterly perfect ending that will make most viewers say "karma is a b*tch, right?" It's a quite enlightening story about the real-life guardians who exploit their wards. Blakeson brilliantly educates the audience on the power of bureaucracy, the moral compromises overly ambitious people must make, and how to profit for some means lack of freedom for others.

Marc Canham's score is the technical standout, delivering an electronic soundtrack that I usually don't appreciate that much, but it played the right type of tracks at the perfect moments. From the score alone, the viewer is able to understand the importance of certain scenes, and that's a massive achievement. Doug Emmett's cinematography also allows for a few gorgeous shots with exquisite lighting, but I need to move on to the fantastic performances from the cast. I already approached Pike's performance, and at the time of this review, she's already received a Golden Globe nomination, so I don't need to further compliment her display.

However, I can't let the rest of the cast go away without mentions. Peter Dinklage (Three Billboards Outside Ebbing, Missouri, Avengers: Infinity War) offers one of my favorite performances from his film career with his slightly over-the-top yet intriguing interpretation of a dangerous gangster. Eiza González (Bloodshot, Hobbs & Shaw, Alita: Battle Angel) is also pretty good as Fran, Marla's lover, and her chemistry with Pike is on-point. Their sparse yet impactful emotional moments are quite compelling. Dianne Wiest is a total badass as Jennifer Peterson, a not-that-innocent old lady, and finally, a shoutout to Chris Messina (Birds of Prey), who hands his charm as an attention-grabbing lawyer.

I Care a Lot is one of the best Netflix movies this year has offered so far. Boasting an intriguing premise, J Blakeson brilliantly expands his idea through an enlightening screenplay that tackles the sometimes cunning guardian-ward relationship in real-life. Packed with clever analogies to real-life capitalism, Blakeson transmits impactful messages about the power of authority, excessive ambition, and the moral compromises one makes to gain wealth and success at the cost of other people's freedom. Rosamund Pike impeccably leads a film that starts as a realistic take on the process of acquiring and profiting from a new "victim" and then evolves into an absolutely crazy second half of absurd outcomes. This ridiculous development does get a bit too irrational, but its purposeful objective of demonstrating capitalists' immorally ruthless behavior regarding competition is undoubtedly accomplished. Outstanding performances across the board and a surprisingly effective electronic score only make this movie better. I couldn't recommend it more.

Rating: A-