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Two estranged sisters are forced to rob a bank in order to save their brother. But this is no ordinary bank. James Franco, Scott Haze, Taryn Manning.
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- The Vault Review
- Movies in Theaters
- The Vault review – ghoul trouble
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- The Vault review – ghoul trouble | Film | The Guardian
This is all fine and dandy and, again, if your scripting is strong enough, then you can make it work. But the fact of the matter is that each genre the film dabbles in ends up sabotaging the others. It's like you're watching three different movies at once and none of them are any good whatsoever. The family drama is frustrating as shit, because Leah, Vee and Michael probably have a past that's actually worth exploring, but they talk in generalizations.
They don't do go in-depth enough for you to get a sense of what's actually driven these three siblings to this point. You know that Michael got into a bit of a mess with some people that he now owes money to. Leah and Vee, who both feel responsible for Michael, agree to this heist in order to help him get out of this situation.
The Vault Review
But that's all they do. They don't give you any more to work with. They say that Leah, once this is all over, will just up and leave, like she always does.
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- The Vault review – James Franco stars in bungled heist-horror mashup.
- The Vault () - IMDb?
But, again, it's frustrating because they just don't bother to give you any more. And there's this constant theme of 'Michael's a good man, you're a decent person, I know you're not bad, why are you doing this' that feels like they wanted this to substitute actual character development.
It's not that Michael is a terrible character, it's just that he's a walking contradiction. He's stupid enough to get himself in this situation, but he's kind of enough to not want anyone IN the hostage situation to get hurt. It's not like these are two elements that are always going to contradict each other, since conflicted characters ARE possible to do, it's just that the way in which they go about it is haphazard.
And there's large chunks of the movie where Michael just disappears. And when he is there, again, the movie hints at their past, they refuse to tell you much, so it's impossible to invest in these three as actual characters when the movie just refuses to tell you anything about them. Having said all of that, I found Leah, whom you could argue is the protagonist, since out of the three siblings she is featured the most, to be an absolutely insufferable character.
Movies in Theaters
Just absolutely fucking insufferable. I think the idea that they had was that Leah would sort of be someone you rally around, seeing as how she was forced into this situation out of love for her brother. But, nope, it doesn't work that way. I just found her to be a poorly-written and utterly unlikable character.
Some of her actions in the film are the actions of someone you do not want to like. Like the whole scene with Susan where Leah breaks a lamp's light bulb and threatens to electrocute her with it.
The Vault review – ghoul trouble
She says she'd be lying if she didn't say it wasn't gonna hurt and that she wasn't gonna enjoy it. Perhaps it was done to psyche out Susan, but it didn't really seem that way to me. How is this meant to be a person we're supposed to root for? I say they try to make her 'likable' because one scene sees her explaining, to Franco's character, that she's as much of a hostage as they are.
Wait a fucking second, wait one goddamn fucking second, you didn't have to agree to do this heist AT ALL. I understand standing by your family, but you could also say 'sorry, little brother, you got yourself into this mess and it's time you get yourself out of it'. That's just the shit I'm talking about, like why would they even attempt to make Leah a 'heroine' when she's just a terrible human being.
Just awful scripting and character development.
Also the whole bit with Franco's character felt a tad uninspired. Perhaps it would have been easy to figure out even if the film had been well-scripted, but it's just so predictable that it doesn't really add anything to the film when you're already expecting it. In fact, and they changed it now, but the film's 'poster' on Netflix gave the twist away. Talk about stupid, though that's not this film's fault.
Let's see, what else am I missing? Well, it's not that it's bad, it's just that it's no good. It's not really effective in the slightest, but it's one the things the film does best.
I like the concept of the victims of the original hostage haunting the old bank, but why in the fuck are they in cahoots with the person who murdered them? It makes no fucking sense whatsoever.
If you're going to enjoy this movie, and why the fuck would you, you should just not even bother trying to think about anything that's going on. Just watch the movie as if you were brain dead and that's the only way you'd be able to get anything out of this. Perhaps that's a little harsh, but it's just not a good movie.
I wouldn't say it's the worst movie I've ever seen, but its mismanagement of disparate genres, its poor character development and its insufferable characters make this a difficult movie to recommend. There's very little here in the way of redeeming qualities, but, again, it's not an awful movie, just a very bad one. It seems I have THE worst fucking luck picking quality movies for "anniversary" reviews.
I can only promise to try better next time, but you can never predict what's gonna happen. I love the idea of these flip-the-script horrors, the kind that play on some variation of the "The Hunter Becomes The Hunted" trope. Unfortunately, The Vault is not a prime example of this concept when we're speaking in terms of quality.
It's cheap, which is not inherently a problem, but it certainly doesn't help when you run into the real barriers like acting, visual effects, audio quality, costuming and set design. But it's still probably watchable enough that I'm going to chuck it onto my Payday playlist. More Top Movies Trailers.
The Vault review – ghoul trouble | Film | The Guardian
DC's Legends of Tomorrow: There turns out to be little cash stored in the upstairs safe, so helpful white-collar worker Ed Franco, with a plot-relevant moustache reveals that a fortune is stashed in the antique vault all the bank employees avoid. Soon, a masked psycho ghost is in the house, and the casualties start piling up. Director Dan Bush, who co-wrote with Conal Byrne, was one of the collective who made the outbreak apocalypse picture The Signal.
This is a more straight-up genre piece, deploying decent-enough suspense and shock mechanisms while hardly pushing the boat out. Though it could do with being weirder and wilder, this high-concept mash-up — what if crooks robbed a haunted bank? A heist turns into a siege and bank employee Ed Maas James Franco tells the gang the real money is in a seemingly disused, possibly haunted bank vault.