Co-writer/director Ruth Du and co-writer David Harry Yoon wear their inspiration for Samson on their sleeve. From Go and The Way Of The Gun to True Romance and Gone Girl, the filmmakers draw from truly excellent sources. Are they able to rearrange the familiar elements into something fresh or new?
Emma (Alice Lee) is meeting her ex, Dale (Ryan Dance), for lunch. She does this to affirm why she broke up with him, while Dale hopes to plead his case for getting back together. Shortly after receiving their food, emotions overwhelm Emma, and she runs out of the restaurant, with Dale right behind her. But as they are talking in the parking lot, two men in ski masks jump out of a car and shove the former lovers into the trunk. Neither one of them is especially rich or well-connected, so the possible motivation behind the act eludes both of them. Who took them and why? Will this traumatic experience bring Emma and Dale closer or further drive a wedge between them?
The non-linear storytelling in Samson is a masterstroke that keeps the surprises flowing and the audience engaged. Initially, it may seem like a gimmick, but it soon becomes clear why this structure is necessary. The sequence with Emma and Dale living together in a little house is executed with jaw-dropping precision. Each glimpse ties into the next, creating a work of pure art. Most importantly, the emotional depth of the scene is fully realized because the audience already knows where the two characters stand with each other. The single musical number is vibrant and wild.
“…two men in ski masks jump out of a car and shove the former lovers into the trunk.”
The writing is also good, but there are some problems. Dale is so hyper-fixated on every little thing it is a wonder anyone can stand to be around him for longer than 5 minutes. He always has to have the last word and never really listens. Mind you, that is the point, but it is a little too much in that direction, as it is hard to understand why anyone would want to be around such a person. But Dance is friendly and engaging, easily overcoming the character’s limitations on the page. Then, the first big twist is very easy to guess. No spoilers, but I figured it out before the narrative comes to the kidnappers’ vantage points. However, a twist later on, involving Emma and tea, is both daring and ingenious, elevating the narrative to a whole new level.
Lee’s performance keeps Samson afloat, her charm and wit making her character both relatable and endearing. She convincingly portrays the fear and vulnerability of her character, particularly in the second half of the film. Will Brittain and Emilio Garcia-Sanchez, as the kidnappers, play off each other wonderfully, injecting some much-needed levity into the proceedings. Their dynamic is entertaining and keeps the audience invested in the story.
While Samson may not be as original as it believes, the ending is a true showstopper. The dazzling direction and excellent cast elevate the script to something truly special. So, to answer the question posed at the beginning of this review: yes, Duth and Yoon find a fresh angle on well-worn material, leaving the audience intrigued and eager to experience the film for themselves.
For more information, visit the official Samson site.
"…the ending is a true showstopper."
