Directed by Pierre Morel
Starring – Jennifer Garner, John Gallagher Jr, John Ortiz
The Plot – Tells the story of young mother Riley North (Garner) who awakens from a coma after her husband and daughter are killed in a brutal attack on the family. When the system frustratingly shields the murderers from justice, Riley sets out to transform herself from citizen to urban guerilla. Channeling her frustration into personal motivation, she spends years in hiding honing her mind, body and spirit to become an unstoppable force — eluding the underworld, the LAPD and the FBI; as she methodically delivers her personal brand of justice.
Rated R for strong violence and adult language throughout
– Wrong Place, Right girl. Garner once again gives a stimulating performance, this time as a gang-fighting vigilante, with a lot of pain from her tortured past. In living up to the bill, Jennifer showcases Riley’s transformation as one that clearly divides the two sides of her life, before and after the murders, giving the character the perfect confliction within herself that still yearns to love and be loved. The problem is never Garner in the slightest, but rather the film’s stumbling direction, that sadly once again doesn’t live up to its end of the agreement, in the same way 2004’s ‘Elektra’ nearly ruined her career.
– This is a solid hard-R rating, and those are the kind of stances unfortunately missing from today’s action genre scene. ‘Peppermint’ is anything but sweet, and its visceral carnage candy is the kind that will resonate with audiences, for its combination of fast-paced fight choreography and impactful gun violence that never disappoint. In this regard, ‘Peppermint’ is a homage to mid 90’s shoot-em-up’s that reminded us of the high stakes that our characters so enthusiastically engage in. It feels comfortable in its skin, and there’s something that I respect about that.
– This is a film that could’ve greatly benefited from a better editor. Scenes feel like they’re missing between supposed breathing periods of the story, pasting together two scenes that bring to light the problems without allowing time in between. Riley feels like she literally flies across town with impossible speed, characters meet their fates from one scene to the next without much explanation, and the action sequences themselves sometimes feel far too choppy, especially when combined with claustrophobia in location that has it lacking detection.
– Strange effect choices. No film should ever be compared to ‘Suicide Squad’, let alone in this example, but ‘Peppermint’ brings throughout a visually forced exposition that is every bit as unappealing to the eye as it is unnecessary to character psychology. The things the film is telling us aren’t exactly groundbreaking, and the snap-cut instances of their inclusion constantly reminded me of the Joker introduction scene from the film I mentioned earlier, with characters (Including Riley herself) popping in and out of frame like a disappearing trick.
– Offensive pacing. While the film never lagged for me in a 95 minute runtime, the story progression is an entirely different story. The film’s halves are uneven, with the second half feeling like it is constantly speeding towards a red light, and this handicaps the films in many ways. For one, we are told more than shown of the deaths that matter to us. Considering the first half of the film builds up a few characters in particular who hurt Riley, it feels like a betryal that we never get to see her revenge game realized against them. One scene has three victims hung up high on a ferris wheel, and I’m curious how this was even possible by Riley alone?? Then there’s Riley’s backstory when she vanishes for five years. Talking about this time and not showing it is a GREAT misjustice because it is in those scenes where we can gain great believability in Riley’s transformation. It’s the worst kind of slop, and proves the screenwriter didn’t care enough to stack the momentum to the film’s favor. Beyond this, the film overall lacks great urgency for how easy Riley is slicing through this Los Angeles gang like knife through butter. Pacing that is too quick can greatly hinder what’s memorable about a film, and that is what you have here.
– Three different endings. If this film ends in the first or even the second scene that feels like it is wrapping things up, then I would’ve been able to commend it for the bravery and sacrifice of believing in a cause, but unfortunately that isn’t the case here. Not only does this movie sequel bait for a second chapter that will undoubtedly never happen, but it buys its way out in the easiest of escapes, making the touching scenes before it that much more pointless because of it. There’s also a third act twist, which is easily predictable for the lack of exposition given to the antagonists in earlier scenes. The reason I was able to call it out is because the film spends a little too much time with a certain character who has minimal interaction with Riley, setting up an inevitable confrontation between them that can’t come quick enough.
– A Fox News wet dream. It’s great that even during a pivotal time when gun violence in schools is all the craze, there are still movies that have an unflattering agenda to sell. I have no problem with guns being used in action films, in fact they’re basically required, but the film’s lack of responsibility that comes with picking one up is something that still greatly troubles me. Guns look cool in movies, so youths are that much more inspired to pick one up, proving that two wrongs by characters does indeed make a right. If this isn’t enough, the antagonists are of course entirely one-dimensional Mexican characters, and given an immense amount of facial tattoos that make them conveniently easy to recognize in a line-up. I’m certain that movies don’t come on after Hannity, but I believe ‘Peppermint’ might be the first.
– Same old same. You don’t have to look far for Punisher style vigilante movies over the last ten years. Hell, after March’s ‘Death Wish’, this is the second one this year with an identical premise and progression. Riley even dons a bullet-proof vest to her wardrobe that makes a die-hard Punisher fan like me yawn with displeasure. What’s troubling about this is ‘Peppermint’ never does anything to break itself away from the pack, feeling like a greatest hits or tropes and cliches for the subgenre that we mark off like a virtual checklist the longer the film goes on. Even if you haven’t seen ‘Peppermint’, you really have. It’s derivative of movies that did it better, and did it first.
– The name Peppermint itself is such a terrible title for this movie, because its usage in the film is minimal at best. Her daughter sells Thin Mint Girl Scout cookies and indulges in peppermint ice cream before the incident, and apparently this was enough to justify the title of the movie. While it has nothing to do with the film itself, a title can articulately set the mood for what a new viewer is getting themselves into. Just imagine if ‘The Shawshank Redemption’ was called Soapstone, for the material Andy carves the chess pieces out of. It’s stretching at the very least, and is a terrible one word representation for everything that follows.
– Spends far too much time with the lawful supporting cast than it does with the leading lady. This might be the biggest offense of all, because Garner feels like a supporting character in her own movie. Instead of trying to piece together Riley’s fragile psyche and taking time to value her interaction with the surrounding homeless residents who view her as an angel, we instead get this boring, by-the-books investigation that is only highlighting what we’ve visually been watching.