Terror in residences, but not because of the coronavirus, as it is pre-pandemic time in I Care A Lot. The fear is caused by a beautiful and disgusting villain played by Rosamund Pike: the woman who commands a criminal network in which a police investigator, several directors of homes for the elderly and a medical doctor are involved in order to fleece the old men. starting from a strange American legal formula that allows them to become your legal guardians if a doctor confirms that there are symptoms of mental deterioration.
The starting point, of course, is Machiavellian, and perhaps the most courageous thing about the film written and directed by J Blakeson is that it unfolds in the key of a black comedy, with obvious overtones of thriller. The second great virtue of I Care A Lot it is that brilliant photographic color that illustrates something so terrible and so dim. Almost like some Coen brothers with less humanism and more bad temper.
However, and here the problems begin, the film dissolves like a sugar too soon. Half an hour later, with its first twist, which will make the new scheme central, the group misses its target and what appeared to be an elderly white blackbird is nothing more than the top of an even more professional and criminal gang: a lamb turned into lion, according to the dichotomy that dominates the story from the opening sentence.
It is then that the dilemma arises in the viewer, and Blakeson’s ethical problem: am I an amoral filmmaker or am I just being a bad guy? Because it can be the extreme that the members of the bloodthirsty Russian mafia seem like the good guys in the story when the director seems to try to lead us, unsuccessfully, to be on the side of the perfidious and fantastic Pike, capable in each interpretation of being a charm to surrender to or a snake to flee from. And Blakeson, finally, decides what to be: a moralist disguised as a provocateur, who could well have saved his character’s final punchline.