Only Greyeyes manages to carry an air of real fear about him, but his version of Rainbird is so underused that it just makes you wish he was there more. It's all kindling, no flame, the appearance of drama and horror rather than actual drama and horror. Every time the film seems to start bearing down on something that carries some real thematic weight, or even some real dramatic tension, it veers away again at the last second, like a fire that just won't catch despite the presence of smoke. Armstrong is very game to rise to the challenge of a young girl struggling to understand the fire inside her, but she never really seems to carry the sense of fear that permeates Charlie's evolving understanding of the world, and it doesn't feel like that's her fault. The problem is that, within that intimacy, the characters seem to be talking about their feelings more than they actually feel them.Įfron does his level best with the material he's given, but the film forces him to carry the same pained facial expression for the entirety of its runtime, sanding off the edges of charm that he carries so well in other projects. It just feels like something that doesn't know what it wants to be, and that extends to the treatment of the film's characters and their respective journeys.Īs he did in "The Vigil," Thomas shoots his characters with low-lit, muted intensity, adding an intimacy to the larger narrative of "Firestarter" that's honestly one of the best things about the film. It doesn't function like a story building in the peaks and valleys of a thriller. That would be fine, too, except that "Firestarter" doesn't ever seem interested in finding a kind of tonal dexterity within its pivot points. No matter the topic, this font will be an incredible asset to your fonts’ library, as it has the potential to elevate any creation. There's an almost scattershot approach to the way Teems' script and Thomas' direction handles the material, leaning hard in action one minute only to drift back into contemplative, quiet reflections on the nature of power in the next. Burn It Down is a unique, thick lettered, and daring decorative font. There's so much to work with, and perhaps that's the problem with this new adaptation.
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Here again, it bears repeating that all of this sounds very cinematic, full of action and tension and terror all building to some kind of massive showdown by the end. When Charlie's gifts become too fiery to ignore, however, it's time to hit the road, and things only get harder when a frightening former-Shop-patient-turned assassin named John Rainbird (Michael Greyeyes) is put on their trail and tasked with bringing Charlie in. When we meet them, the family's been on the run for some time, well aware that the organization which experimented on Andy and Vicky when they were college students could appear at any moment and abduct Charlie, and so far they've been pretty good at hiding.
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