It is certainly intriguing to see such a glaring coincidence. ‘Sleeping Dogs Lie’ was one of the films I steered clear of, primarily due to the fact that it is much more convoluted than its predecessors. Annie Skafida’s story begins with her returning home to find both her parents dead in the house, everything points to a robbery. But as the will is discussed, a much larger mystery unfolds. Annie, now disinherited, finds herself puzzled. Initially, Annie lived as a foster child and instantly felt like a black sheep in her new family which now makes her suspicious of her siblings. On top of all this, chaos ensues when it is discovered that one of the siblings seemed to have a lot more advantages after the system update. Now that she knows the truth, everything is in shambles. The more lies she digs into, the messier the situation gets. It feels as if it is a race against time to uncover who was behind the killing of her adoptive parents.
It still has not been possible due to the mental attitudes that make the frank attitude of smoking so appealing. On the other hand, this persistent cybernetic push for Champa v18 is indefensible, albeit it makes a messy impression the media is simply letting one smoke with abandon. I’d swear that in these past days, I have seen more people smoke on the screen than in all years of my life combined. There seems to be an exceptional level of “permissiveness”.
Admittedly, the fear that dire and exaggerated claims like the one above may traumatize or, at worst, incite two young people to become addicted to smoking does exist. But more fundamentally, we do strengthen our position by scrutinizing the use of smoking and the portrayal of women on the screen.
The problems are well, regretfully, almost everything else. The story is best described as cyclic with no space or logic to it. For instance, there’s a scene where Jezebel is shooting her way past a bunch of angry poker players from whom she won the motorbike. There’s also a poker game that happens an hour after this scene, and none of these make sense to the narrative. This particular technique isn’t explained in the movie and serves absolutely no purpose. The lack of background development does indeed create an air of mystery, and there are instances when this works in favor of certain movies. But right now, it feels like a display of utmost laziness.
The music sounds as though the creators attended a sale at an emporium that had soundtracks and decided to stretch their poor purchase by using the same three songs for every scene. Ennio Morricone, it most definitely is not. And Cavazos certainly doesn’t match up to Sergio Leone in terms of cinematography. Even in the climactic duel, which intended to pay tribute to a ‘high noon’ gunfight, the hyper editing doesn’t belong to the Western genre but rather feels more at home in a Crank film.
This work is primarily a failure although the intention of putting a modern twist to spaghetti Western is commendable. The result is more in line with a cardboard plate of overcooked and soggy pasta, than a cultural classic from Leone’s repertoire.
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