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<v Speaker 1>This week on Real Reviews, we head into the dark

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<v Speaker 1>underbelly of the Pacific Northwest with a tense all night odyssey.

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<v Speaker 1>Night Always Comes as part survival story, part moral reckoning,

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<v Speaker 1>a film that asks how far someone will go when

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<v Speaker 1>the clock is ticking, the stakes of life changing, and

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<v Speaker 1>every choice carries a cost. Based on Willie Vaughton's novel

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<v Speaker 1>and directed by Benjamin Karan, who also directed The Crown

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<v Speaker 1>and and Or, Night Always Comes follows Lynette played by

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<v Speaker 1>Vanessa Kirby, a woman on the edge, literally hours away

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<v Speaker 1>from losing her family's home. With twenty five thousand dollars

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<v Speaker 1>standing between her and eviction, she plunges into a frantic

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<v Speaker 1>twenty four hour race to raise the money by any

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<v Speaker 1>means necessary. Lynette lives with her mother, Doreen, played by

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<v Speaker 1>Jennifer Jason Lee, and her developmentally disabled older brother, Kenny

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<v Speaker 1>played by Zach Gottenseagin. With her mother unwilling or perhaps unable,

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<v Speaker 1>to help, Lynette takes the burden on herself. What follows

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<v Speaker 1>is a relentless journey through pawnshops, drug deals, shady favors,

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<v Speaker 1>and old acquaintances who'd rather see her fail than help her. Succeed.

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<v Speaker 1>Karan frames the Pacific Northwest not as a postcard backdrop,

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<v Speaker 1>but as a world closing in rain. Slicks streetat industrial decay,

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<v Speaker 1>neon dive bars and half lit motels become characters in

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<v Speaker 1>their own right. The film's pacing marror's Lynette's mental state.

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<v Speaker 1>Moments of quiet calculation give way the sudden burst of chaos,

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<v Speaker 1>each scene tightening the noose around her. Kirby delivers a

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<v Speaker 1>fiercely committed performance, grimy, desperate, and stripped of vanity. This

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<v Speaker 1>is not a role built on glamour, is built on

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<v Speaker 1>sheer will power. She's magnetic even when Lynette is making

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<v Speaker 1>morally questionable choices. Lee, in limited screen time, quietly embodies

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<v Speaker 1>the interaction that fuels her daughter's rage, while Got Sagan

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<v Speaker 1>brings a heart heartfelt excuse me vulnerability to Kenny that

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<v Speaker 1>raises the emotional stakes to find. James Randall Park and

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<v Speaker 1>Julia Fox make brief but memorable turns as people from

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<v Speaker 1>Lynette's past and pre as an who forced her to

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<v Speaker 1>navigate betrayal, temptation, and fleeting opportunities. Thematically, Night always Comes

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<v Speaker 1>lives in that space between survival and surrender. It's not

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<v Speaker 1>interested in tidy morality, Koran understands that in a system

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<v Speaker 1>designed to break you, they're no clean choices. The film asks,

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<v Speaker 1>if it's called survival, do you still deserve redemption, and

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<v Speaker 1>wisely leaves the answer up to us. Night always comes

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<v Speaker 1>as a hard edged rain, soak descent into desperation. It's

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<v Speaker 1>not perfect, some scenes overstay their welcome, but Kirby's performance

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<v Speaker 1>in Kuran's atmospheric direction make it a gripping ride. I

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<v Speaker 1>gave this film a B Midas. To read the full review,

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<v Speaker 1>go visit us over at thefilm Gordon dot com and

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<v Speaker 1>until next week Peace n