Simply A Masterpiece

It's no definitive masterpiece but it's damn close.

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

I actually really liked this movie. I am a U.S. MARINE & the vet in this the drug dealer the cooker if this were a true story really if he ever had any honor through it all away when he started doing what he was doing in this. This movie does go to show what the few & far between good law enforcement officers have to do to try to get the job done even if it means sacrificing themselves & their family & friends. I agree with what the main character said & did in the end though. I read some of the other reviews & obviously they expect in a movie about this kind of stuff a lot more action & high energy but this movie was closer to reality than all those fast paced action & high energy movies about this same type of stuff.

While the lead actor, Eliza Taylor, and others do well at building the chemistry between each other, this is only half of the film; the half that takes on the seamy underbelly of the Street drug dealing world seems contrived and the film suffers from a poorly written script, made-for-t.v. acting, and direction that seems scattered and poorly put together. Yes, it might have been a great film, but the focus of what the director presents seems tired and condescending to the viewer. That is, some of the film feels like it wants to build down-to-earth, close relationships between characters who seem sincere. The drug sub-culture parts of the plot displays a lack of understanding of the drug sub-culture and lingo. While this might have been finessed by employing less talk and more affect, the director fails to dovetail the human aspect with the moral one, makes it difficult to identify fully with any one of the characters. The subject matter ends up a drawn-out garbled message that was the main underplot of the entire project; the battle between separating good and evil from the grey emotional places in-between.This may have been better accomplished with less dialogue. Dialogue that sound more like a t.v. crime show rather than the decent indie-style film that it spends more time with. The half half that resembles a television series totally decimated what the character building phase accomplished. There is no happy medium. One comes away from the film feeling like hostages on a very slow, predictable amusement park ride - too long, too boring, and not worth the viewer's effort. Wish the entire crew the best, and hope that next time the director focuses more on overall continuity than wandering around taking us on an obvious message that spends too much time pretending the script is adequate, rather than spending time editing.The initial idea was probably well-intentioned, but this subject matter, once bitten into, seems more than the professionals who made this can effectively chew. Overall very unsatisfying. Four stars only for efforts actor Eliza Taylor, who provided brief moments if engaging and captivating realism.

I kind of like gritty movies about the drug underworld. This one was just OK. All the elements were there but the movie didn't really do much for me.My main problem is I didn't like any of the characters. Even the protagonist. They all made such dumb decisions. And even the scenes of the protagonist's home life which felt like they were supposed to earn her sympathy ended up just being sad.Not a bad movie by any means. But certainty not a great one. I suspect younger audience might like this more than those over 30. For me the movie was hard to connect with. In a month or so I'll probably forget this movie completely and that is it's worst sin- being unmemorable.

There are several things that "Thumper" does remarkably well, and that's saying a lot—in the past decade or so, films (and, indeed, television shows) on drugs, drug use, and the war on drugs, have steadily become more staple, enough to establish their own set of tropes and pitfalls. But "Thumper" does enough to both validate and subvert expectations, by allowing organic character beats to drive the plot, and intimate human relationships to steer us into unfamiliar territory.The film's leads—Pablo Schreiber as menacing meth cook Wyatt, Eliza Taylor as shrewd undercover cop Kat—hurl themselves (occasionally, quite literally) into their complex roles with ferocious commitment. From the opening scene, Schreiber brings a furious volcanic intensity into the frame, threatening to explode in a wave of fire and ash. Taylor adeptly matches his performance with what she's given, brazenly going toe-to-toe with him—a notable feat, considering he towers an entire foot over her—and talking back when others fall silent.But it is Daniel Webber's vulnerable, downplayed Beaver—his arc mirrors Kat's in a number of ways, one of the reasons they are drawn to one another—whose agency and actions becomes crucial. And it is Beaver's relationship with Wyatt—in all its sad shades of fear, respect, anger, humiliation, and the need for validation—that changes everyone's lives, for better or worse.Other gritty performances include Grant Harvey as Wyatt's cousin, Troy, who brings to mind a mild, not-so-far-gone Sick Boy, Jazzy De Lisser's hard-boiled addict Gina, and Lena Headey's overbearing, sneering Ellen. It goes without saying that "Thumper" owes much of its praise to its cast—although there is noticeable unevenness with the writing, particularly for the female roles.Despite that unevenness, by the conclusion of the film, we are left with Kat, forced by her ordeal to take a hard look at who she is, and how what she has done has changed her. For a film that initially gives the impression of a creeping cynicism bordering on overwhelming pessimism, Kat's recognition of the drug war for the vicious, violent cycle it is, and her firm decision to break away from it, speaks volumes. Taylor's remarkable performance confirms her ability to bring to life characters with evolving moralities—I hope she continues to explore similarly challenging roles in other independent efforts, which may wisely recognize, and make the most of, her talent.The film's dedication to naturalism makes apparent director-writer Jordan Ross's roots in documentary filmmaking, with the entire film shot with a hand-held camera, setting the film's uncompromising tone. Effective films often affect emotionally and physically, and "Thumper" is one such film, evoking an undeniably visceral reaction, even on my second (and frankly, far more critical) viewing. It doesn't matter if you suspect, through the film's occasional familiar beats, or muted foreshadowing—or certainly know, as I did that second time—what comes next; how the film takes you there will leave you momentarily breathless, at times, shaken, and by the end, entirely struck.