“Pain Hustlers,” a pharmaceutical drama film directed by David Yates, known for his work on the Harry Potter and Fantastic Beasts series, features a star-studded cast including Emily Blunt, Chris Evans, Andy Garcia, Catherine O’Hara, and Brian d’Arcy James. Despite the filmmaker’s reputation and the presence of big stars, does this Netflix film bring something distinctive to its pharmaceutical theme?

The film follows Liza Drake (Blunt), a young mother determined to do whatever it takes to support her daughter. Assisted by Pete (Evans), Liza seizes an opportunity to work for a pharmaceutical company on the brink of bankruptcy, manufacturing pain medication for cancer. Through persuasive tactics, they successfully sell the drug to an influential clinic, propelling the company to success but with illegal methods. As Liza’s career soars, the consequences of greed become inevitable.

While exploring the dark side of the pharmaceutical world, particularly the sales aspect, “Pain Hustlers” doesn’t delve into medical terminology and focuses more on the process, making it an intriguing watch. The narrative, centered around a successful career and the consequences of greed, may follow a familiar trajectory seen in other films like “I Care a Lot” and “Body Brokers.” The predictability of the greed factor makes the plot’s direction relatively foreseeable, and the film doesn’t offer a groundbreaking twist akin to “I Care a Lot.”

Despite not being the first or most outstanding film with a similar theme and message, the presence of notable stars elevates “Pain Hustlers.” The performances, while not necessarily Oscar-worthy, provide adequate support to the script. Yates showcases his editing skills through dynamic montage segments, adding a touch of flair to the film. However, it doesn’t go beyond that.

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While “Pain Hustlers” may shed light on the harsh realities of the pharmaceutical world, it doesn’t stand out as the best in its category. Other films like “I Care a Lot,” “Body Brokers,” or the documentary “Sicko” by Michael Moore may serve as better references for those interested in exploring this theme further.

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PENILAIAN KAMI
Overall
70 %
Artikel SebelumnyaSaranjana: Kota Ghaib
Artikel BerikutnyaQodrat Meriahkan Panggung Malam Puncak dengan Raih Piala Gunungan
A lifelong cinephile, he cultivated a deep interest in film from a young age. Following his architectural studies, he embarked on an independent exploration of film theory and history. His passion for cinema manifested in 2006 when he began writing articles and film reviews. This extensive experience subsequently led him to a teaching position at the esteemed Television and Film Academy in Yogyakarta. From 2003 to 2019, he enriched the minds of students by instructing them in Film History, Introduction to Film Art, and Film Theory. His scholarly pursuits extended beyond the classroom. In 2008, he published his seminal work, "Understanding Film," which delves into the core elements of film, both narrative and cinematic. The book's enduring value is evidenced by its second edition, released in 2018, which has become a cornerstone reference for film and communication academics across Indonesia. His contributions extend beyond his own authorship. He actively participated in the compilation of the Montase Film Bulletin Compilation Book Volumes 1-3 and "30 Best Selling Indonesian Films 2012-2018." Further solidifying his expertise, he authored both "Horror Film Book: From Caligari to Hereditary" (2023) and "Indonesian Horror Film: Rising from the Grave" (2023). His passion for film extends to the present day. He continues to provide insightful critiques of contemporary films on montasefilm.com, while actively participating in film production endeavors with the Montase Film Community. His own short films have garnered critical acclaim at numerous festivals, both domestically and internationally. Recognizing his exceptional talent, the 2022 Indonesian Film Festival shortlisted his writing for Best Film Criticism (Top 15). His dedication to the field continues, as he currently serves as a practitioner-lecturer for Film Criticism and Film Theory courses at the Yogyakarta Indonesian Institute of the Arts' Independent Practitioner Program.

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