“Son, I’d Blow Your Brains Out if I Thought You Had Any.” – George
Engrossing, suspenseful and darkly humorous, Villains, released in 2019, is a fast-paced crime-thriller with a sharp comedic edge. Led by a quartet of strong performances, including the likes of Bill Skarsgård and Maika Monroe as the leading pair of romantically-entangled criminals, Villains has more than a few noteworthy elements. Alongside its many qualities, however, Villains also suffers from several shortcomings, mainly in regard to the lack of style in its visuals, despite what the film’s flamboyant promotional posters would lead you to believe.
Plot Summary: On the run after robbing a local gas station, amateur lovebird criminals, Mickey and Jules, find themselves breaking into a secluded house in search of a new set of wheels. But, upon entering the quaint abode, the pair discover that the home they have stumbled into is actually the residency of a sadistic couple with more than a few dark secrets…
While never outright frightening, Villains does have a surplus of tense sequences and bloody violence to quench one’s thirst for excitement. However, these stirring moments don’t persist into the third act, as Villains‘ story actually reaches its peak absurdity during the second act, and then opts for a quieter, more emotionally resonant third act to conclude its narrative. Admittedly, this is a rather jarring decision, and the film’s pacing does suffer as a result, but it undeniably works in the characters’ favour. Furthermore, whilst not filled to the brim with plot twists and narrative subversions, the first act of Villains features enough twists and turns that I would advise those going in to go in blind as possible to get the full impact of the reveals.
Headed southbound for a fresh start in the sunshine state of Florida, the central couple of Mickey and Jules, portrayed by Bill Skarsgård and Maika Monroe, are surprisingly likeable characters in spite of being wanted criminals. Monroe is the most charismatic she’s ever been in her role as Jules, whilst Skarsgård portrays Mickey as a goofy yet considerate partner, delivering some of the film’s most amusing lines of dialogue. The pair could have easily been depicted as despicable, but Monroe and Skarsgård imbue them with such warmth and earnestness that you can’t help but root for them. As for the demented homeowners, George and Gloria, portrayed by Jeffrey Donovan and Kyra Minturn, are charismatic yet equally intimidating, portraying their characters with a subdued sense of lunacy as opposed to being overly insane to an almost comical degree. On top of the terrific performances, all of the characters receive an adequate amount of development. I’d even go so far as to say it’s unfortunate that the runtime isn’t a little longer to further flesh out the characters, as the hints of backstory we receive for some of them (particularly Gloria) are both tragic and fascinating.
Visually, Villains is somewhat flat, as the cinematography by Matt Mitchell largely relies on unremarkable close-up and mid-shots without much innovation or implementation of style. Excluding the end credits, that is, which are vibrant and chaotic, emulating a skater-like art style through its animation and font choices. Luckily, the production design fairs better than the camerawork as George and Gloria’s house is uniquely coated in 1960s decor, complete with radiant colours and a vintage television. All of the outfits that the psychotic couple sport also play into this ’60s aesthetic. Moreover, writers-directors Dan Berk and Robert Olsen (Body, The Stakelander) effectively utilise the setting of George and Gloria’s home, establishing the geography of their house scene by scene so the audience has a clear understanding of where each character is in relation to one another during the many cat-and-mouse chase sequences.
The original score by Andrew Hewitt is regrettably rather generic, boasting several tracks that sound as if they were lifted from various scores from a selection of genres, from mysteries to horrors. But, on a more positive note, Villains does make sufficient use of a number of soothing instrumental pieces, such as The Free Life, Time for Romance and Looking Back on Love, which all serve as excellent contrasts to the on-screen violence and grim setup of the narrative.
Upon first viewing, it quickly becomes apparent that Villains takes a lot of influence from other crime flicks. Most notably for its protagonists, Mickey and Jules, as the pair share many similarities to the couple; Pumpkin and Honey Bunny from the opening and closing scenes of the quintessential crime flick; Pulp Fiction, released in 1994. The film even pays tribute to this specific influence through a small Easter egg, as if you look closely, you can see that Mickey has a tattoo on his wrist of Stuntman Mike’s car from 2007’s Death Proof, another flick directed by Quentin Tarantino.
In summary, Villains is an entertaining crime-thriller, but it’s also a film that continuously feels as if it’s on the cusp of something extraordinary, yet it never quite reaches whatever that may be. While the performances are solid and the plot is engaging, the almost total absence of style and flair is exceedingly difficult to ignore. Still, Villains has enough of its own offbeat energy to avoid merely coming across as an assemblage of two young filmmakers’ cinematic influences, which is more than can be said for many modern releases. Rating: 6/10.