The Last Stop in Yuma County (2024)

Direction: Francis Galluppi
Country: USA

An exciting feature debut by Francis Galluppi, The Last Stop in Yuma County is a revivalist neo-noir thriller reminiscent of the works of Alfred Hitchcock and The Coen Brothers. The film stars an ensemble cast led by Jim Cummings (Thunder Road, 2018; The Beta Test, 2021), who channels Norman Bates from Psycho as a knife salesman stranded at a remote Arizona diner next to a gas station, waiting for a fuel track to arrive. What should be a quick rest stop, becomes a nightmare when two dangerous bank robbers - portrayed by Richard Brake and Nicholas Logan - exactly in the same predicament, terrorize everyone around them.

Galluppi crafts the film in a classic style, creating a sense of isolated, alienated Americana. His confident direction weaves the elements into a crescendo, enhanced by a viciously torrid and claustrophobic atmosphere. However, the film ends on a somewhat contrived note. Utterly engaging until that point, this suspenseful tale of greed still guarantees a satisfying pay-off, offering a slick slice of solid entertainment in a constant state of tension. 

The Last Stop in Yuma County reminds us how gripping neo-noir thrillers can be when properly crafted, and Gallupi proves to be a bold young director to watch.

Monkey Man (2024)

Direction: Dev Patel
Country: USA / Canada / India

Dev Patel, the star of Slumdog Millionaire (2008), makes his directorial debut with Monkey Man, which he co-wrote with Paul Angunawela and John Collee. He also stars as the title character, a traumatized fighter seeking revenge for his mother's death. Jordan Peele, the director of Get Out (2017) and Nope (2022), is among the production credits, and the talented tabla player Zakir Hussein, known for his collaborations with jazz musicians, is part of the cast alongside Sharlto Copley, Vipin Sharma, and Sikandar Kher.

This neo-noir action thriller inevitably draws comparisons to John Wick and The Raid, but transports its violent rampages to India, encompassing themes such as poverty, caste injustices, discrimination of the Hijra community, cult of personality, and corruption. 

Behind the camera, Patel doesn't offer much originality beyond the specific cultural context. While the stunts are choreographed with wild athleticism, the relentless violence is exhausting, and the plot remains rudimentary. Watching this bloated and overlong film can feel as enjoyable as sitting on a cactus. 

There's unquestionably an audience here, and the film isn't completely terrible. It is just rather monotonous as the flimsy story fails to support the dramatic weight envisioned by its creators.

Limbo (2023)

Direction: Ivan Sen
Country: Australia 

Limbo is a haunting neo-noir slow burner written, directed, edited, co-produced, photographed, and scored by the multifaceted Ivan Sen (Mystery Road, 2013; Goldstone, 2016). The film offers a captivating re-examination of an unsolved murder case that victimized a young Aboriginal woman two decades ago. Travis Hurley (Simon Baker), a benumbed cop with a violent past and a heavy drug addiction, arrives in a small, barren mining town in outback Australia to investigate deeper. He contacts the victim’s depressed family members - half-siblings Charlie Hayes (Rob Collins) and Emma (Natasha Wanganeen) - as well as Joseph (Nicholas Hope), the brother of the main suspect at the time. All of them seem to know more than what they say.

Building up slowly but with a hypnotic spell, the film looks like a canvas painted in monochrome style - the unique arid landscape and compelling black-and-white photography make a wonderful match. It exposes not only the current existential emptiness but also the lack of opportunities and injustices endured by the indigenous Australians. 

Carrying all the ingredients of a solid film noir, Limbo has a startlingly unusual climax, shrouded in thick mystery and a sulfurous tone that, at the end, suddenly veers to bittersweet. Despite the shattering suggestions, the film ends on an optimistic note that is both quite surprising and welcoming. With no sensational scenes or thrills, Limbo penetrates our minds with a piercing lethargy.