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From there, things fall apart for Jim with inexorable efficiency: scene after scene of Jim in a series of indistinguishable offices, receiving devastating news with apologetic finality.

The bank refuses to refinance his home, so he starts putting his wife’s treatments and pharmaceuticals on a credit card. He moves into a ratty pay-by-the-week hotel and begins pinning articles from -esque papers on the wall, “unveiling” a conspiracy in true cinematic-paranoid fashion.

Wood worked in total obscurity, while Boll’s video-game films have received major distribution ( opened in more than 2000 theaters).

Wood never learned how to make movies well, but Boll has progressed beyond complete incompetence.

It’s director Uwe Boll’s incompetence that permits his films to make a radical critique of contemporary violence If someone had told me in 2010 that the most conspicuous U. social movement in 40 years would be sparked by magazine, I would have laughed in their face.

If someone had told me in 2012 that the most politicized narrative film about the financial crisis would emerge from the camera of Uwe Boll — the director famous for terrible movies based on video games, including ’s running time involves watching a white middle-class couple’s lives get destroyed by the financial crisis.

While there are serial killer movies, action movies with huge bystander body counts, and disaster films in which whole cities are obliterated, there are few 21st century films about the increasingly common form of public random mass violence by and against adults. It takes only four sentences for Boll’s Wikipedia entry to reveal that he “has been described as ‘the Ed Wood of the 21st century.’” The comparison is apt in some ways.

Like Wood, Boll usually produces and/or writes the films he directs, often displaying a total technical ineptitude that fails to even approximate the cinematic standards they aspire to.

He then goes up into the brokerage firm and kills almost everyone in the office.Jim Baxford (Dominic Purcell) is a New Yorker with a stable job as an armored-car security guard.His wife (Erin Kapluk) is out of work, undergoing treatment for a brain tumor.(Particularly awful are some fast-cutting shaky cam scenes inside the gas chambers.) But these are not Boll’s most interesting works.He is the only filmmaker interested in investigating the likelihood of a violent response to political powerlessness — mass shootings.

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