![]() She does have Batman abilities though, one primarily being her power to conveniently vanish from crime scenes that she’s completely visible in. Riley has a Batman backstory, yet she ends up cracking jokes as if she’s “Deadpool”. She does have an incredible scene where she confronts a terrible dad, but it also feels out of character. We spend a lot of time displaying Riley’s superhero origin story that is tragic and dark, but then when we see her in the present hunting her family’s killers, she’s cracking one liners and mom jokes. The movie spends so much time on everyone but our lead and when they do, it doesn’t know how to strike the right tone with her. We were sold on a “Taken”-esque revenge action-thriller from the director of “Taken”, and somehow it feels as choppily edited as “Taken 3”. At first it’s to depict how hazy Riley’s mind is due to her PTSD, but then that’s completely abandoned and it’s used to make the movie look #stylish. You know how scenes in “Scandal” are transitioned with white flashes nearly every time? Well, apply that flash white/washout effect where shots are overexposed to nearly every two scenes, not for a transition, but for flair, and it’s annoying and infuriating to watch. But leave it to “Peppermint” to copy its style. “Suicide Squad” was the movie that should’ve taught studios how to NOT stitch a movie together. STOP USING QUICK CUTS AND UNNECESSARY FILM TRANSITIONS AS REGULAR EFFECTS FOR YOUR SCENES!! To all the editors who cut action movies: We didn’t need her to literally play a mom that kicks ass. She already played a kickass mom earlier this year in “Love, Simon”. Jennifer Garner is trying her best, but her performance can’t make up for all of the excessive flaws that lie in the film. Yes, I’m going to discredit “Elektra” because it goes without saying that it’s terrible. It’s about time Jennifer Garner had an action vehicle (again). 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. When the system frustratingly shields the murderers from justice, Riley sets out to transform herself from citizen to urban guerilla. Laughing, Garner scooped up Fleming into her chiseled arms and spun her around.Peppermint is an action thriller which 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. The crowd slowly parted around them as they performed what started out as an impromptu dance-off, then evolved into a flawlessly choreographed routine. Garner, meanwhile, was quite taken with the young actress who plays her daughter, Cailey Fleming, who was probably up way past her bedtime. “I mean, look at ‘Taken.’ It was phenomenal and then they did two more. “Don’t we all dream that it can be? Absolutely,” she said. You want her to win.”ĭuggins is hoping that a big win at the box office could spark a sequel or, better yet, a female-driven franchise. ![]() “She’s not just out killing people - you feel every bit of her anguish, her physical pain and her emotional pain, and that’s why the audience is rooting for her. “What makes her a phenomenal actress is you can see her in these beautiful love stories and comedies and then she can step right into a revenge movie ,” added Duggins. You feel her pain every time she takes a punch - you see her face feel the pain.” “Obviously she’s good at fights from ‘Alias’ and ‘Daredevil’ and ‘Elektra’ and ‘The Kingdom.’ was really rough and gritty. There are some hits, and you see her face hit the ground,” Duggins told Variety. ![]() Duggins estimates that Garner performed 98% of her own stunts and trained for three months leading up to filming. “Jennifer worked her booty off,” said one of the first guests to arrive, Shauna Duggins, who has been working as the actress’ stunt double for nearly 20 years (the two have been inseparable since the third episode of Garner’s TV series “Alias”). ![]() The after-party took place not far - and yet a world away - from the film’s skid row setting at Wolfgang Puck’s Asian eatery WP24, which is perched high atop the Ritz-Carlton. Director Pierre Morel, who also helmed “Taken,” made a brief speech before the movie started and thanked his star, whom he described as “the most wonderful, dedicated, and kind person I have ever met.”
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