Emily the criminal arrives on Netflix
During the 48th Deauville American Film Festival, some films we discovered for the first time definitely stood out from the crowd. Like the overwhelming After sunthe fascinating horror film Xor the baroque orgy Blond hair. But let’s not forget that too the excellent Emily the criminal, a thriller of great mastery. While we were very enthusiastic since its presentation at the festival, the film unfortunately did not receive the spotlight it deserved. In fact, no theatrical release for John Patton Ford’s feature film, which has arrived on VOD in November 2022 in a certain anonymity. So that’s excellent news Netflix has looked into its case, since the film joined the platform’s catalog on February 14, 2024.
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In this nervous thriller, we find Aubrey Square for we have rarely seen her. The actress plays Emily, in serious financial difficulty and those who carry student debt. Due to an unclear criminal record, the heroine is unable to find a stable job and she has to settle for a job as a delivery girl in a restaurant. Until the day a colleague informed hima little scam that will make him $200 in just an hour. Emily will follow her advice and will soon find herself involved in the game of credit card scams.

A dark thriller with a great Aubrey Plaza
We could put Emily the criminal in the social thriller category. The film represents an America whereAmerican dream is no longer possible and where, due to a sick system, the only way to get out financially is through crime. Small crimes that will have big consequences. It could be a sort of déjà vu. But the scenario ofEmily the criminal it’s good smarter and more relevant than it seems. Because the heroine represented is not like all the others.
Cold, meticulous, socially rather maladjusted. Emily isn’t very understanding, but it’s fascinating, it gives a glimpse of a heavy past. Which is why he doesn’t let himself face certain dangers. This is how the film manages to surpriseas in a scene where Emily is robbed, before standing up and asserting herself against her attackers.
Ultimately she is a strong anti-heroine, who faces adversity and, deep down, doesn’t afraid of nothing or anyone. The way John Patton Ford overturns certain clichés and moments typical of this type of film is remarkable. He thus offers a dark work, but not at all pessimistic, with a direction that evokes the cinema of Michael Mann (since he films Los Angeles at night) and a powerful, profound and non-Manichaean ending.
Source: Cine Serie

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