I Care a Lot (2020) Watch Download Online pdisk Movie
The smooth, accuracy precision of the operation is without a moment's delay stunning and terrifying.
A specialist chooses an old patient who resembles a decent candidate for guardianship: an individual of solid financial means who's not very old and infirm presently, however possibly on the brink of dementia. An appointed authority signs a court request asserting that this woman can presently don't care for herself and requirements another person to step in and help. A legal guardian appears at the woman's home with the archive, saying she's in charge now and insisting she'll take great care of her property and finances. A driver whisks her away to a nursing home where the manager accompanies her to a private room, promising she'll be treated like a sovereign.
And when all the pieces are in place, the guardian is allowed to drain this unsuspecting woman of each penny she has.
The grift is impressive in "I Care a Lot," writer/director J Blakeson's pitch-black satire. You've gotta say that much for it. But on the other hand it's rankling to such an extent that you probably couldn't stomach watching the entire thing were it not for the riveting lead performance from Rosamund Pike. Blakeson, whose previous films include the stylish secret "The Disappearance of Alice Creed" as well as the derivative dystopian YA thriller "The fifth Wave," has said he was inspired and enraged by stories he read about predatory guardians taking advantage of voiceless victims. Pike's Marla Grayson is the towering embodiment of unchecked avarice within a framework that's ripe for exploitation.
With her razor-sharp blonde sway, monochromatic suits, and ever-present vape pen, Marla is a woman driven by cool, hard ambition. That much would have been obvious without her opening voiceover, in which she justifies her scam: "Playing fair is a joke invented by rich individuals to keep most of us poor." During a court hearing at the film's start, she argues in persuasive, clear-looked at fashion that she can all the more accurately assess what's in the wellbeing of her clients because she has no skin in the game, unlike family individuals who are fraught with emotional baggage and financial expectations. As far as she might be concerned, it's all transactional. So when she gets the news that one of her clients has died, she pulls his headshot crazy where it hangs among many others, wads it up and tosses it in the trash without a drop of emotion.
"I thought he had legs," remarks the specialist (Alicia Witt) who presents her potential marks, for a cut. However, soon, another possibility arises: "a cherry," as they allude to a prime candidate, and the blasé pitilessness in Blakeson's script is the point. It's meant to make us uncomfortable, and it's effective. Jennifer Peterson (Dianne Wiest) has no kids, husband or living family, and while she's suffering from the beginnings of borderline dementia, she's active and will likely be around for quite a while. She's simply a nice, normal old lady, totally functional, living an unremarkable life—however to Marla and Fran (Eiza González), her partner in business and romance, she's "like a brilliant f**king goose."
What these predators don't realize is that they've picked some unacceptable prey this time, and that by kidnapping, imprisoning, and bilking this seemingly kindly retiree, they've angered some dangerous and violent individuals. Peter Dinklage is serene chilling as a volatile Russian mobster with a proclivity for pastries, and Chris Messina has a colossal scene as his sweet talking lawyer, who strides into Marla's office and tries to pay her off prior to resorting to threats. The snappy and increasingly intense exchange, with the two actors matching each other barb for barb, is the film's highlight.
Blakeson's concocted a particularly original idea here, and he's introduced it in a way that's both slick and vivid. Indeed, the blithe, parasitic nature of these characters is disturbing, however the verve of the storytelling on display keeps you snared, as does the consistently versatile Pike. She's captivating in her confidence and her ability to outmaneuver everybody, without fail. Marla is a despicable human being, and while you will not exactly find yourself rooting for her to succeed, you'll at least be curious as to whether she can pull off her most outlandish plan yet. And then, at that point once we realize who Jennifer Peterson really is—and who she's associated with—Wiest reveals a character who's hilariously sharp through the haze of medications she probably doesn't require.
"Try not to get tricked by elderly folks individuals," Marla tells Fran as they discover the multitudes their latest ward contains. "Indeed, even sadistic, immoral assholes go downhill."
In any case, the detached, distracted tone that sustains the film for such a long time eventually gives way to actual feelings—to its detriment—as this dark satire steadily turns outright dark. Pike can do anything, and this is her juiciest job since "Gone Girl," yet "I Care a Lot" turns out to be less interesting when her character starts allowing emotions like fear to leak through. We needn't bother with justification for Marla's heinous acts; simply making her a beast makes a more grounded point. And eventually, she becomes superhuman in the face of real physical danger, which we're simply expected to go with—as if her scrappy, hungry nature makes her a survivor in each situation.
Yet, she pulls off a cool trick involving a took out tooth and a container of milk that may be valuable someday, so if you learn anything at all from watching "I Care a Lot," make sure it's this handy (and healthy) tidbit.
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