Vanessa Kirby is experiencing a decent career boost through her belonging to the MCU. After all, after her current cinema appearance in “The Fantastic Four: First Steps” as Sue Storm alias Invisible Woman, further appearances in two planned “Avengers” parts are secure. In the past, the British has repeatedly shown that she is also a very versatile character actress. In addition to her role as Joséphine de Beauharnais in “Napoleon”, in which she offered Joaquin Phoenix, she impressed her primarily with her powerful representation in “Pieces of a Woman”, whereby she earned an Oscar nomination above all through her authentic game in a 23-minute (!) Birth scene.
“Night Always Comes” by director Benjamin Caron (with whom she was ready for several episodes of “The Crown”) also benefits enormously from Kirby's strong performance. The extremely grim, extremely grim and with Jennifer Jason Leigh (“The Hateful 8”) and “Hostel” director Eli Roth in supporting roles always takes different ways than expected in supporting roles.
Will Lynette (Vanessa Kirby) be able to find $ 25,000 within a very short time and to save your family from threatening homelessness?
Her landlord wants to withdraw from the real estate business, so he makes a very good offer to the ambitious Lynette (Vanessa Kirby): For only $ 25,000, she can buy the somewhat dilapidated house in which she lives together with her mentally handicapped brother Kenny (Zack Gottsagen) and her mother Doreen (Jennifer Jason Leigh) living into the day. But since Doreen prefers to cheer for the long -scratched savings on the deadline for the purchase contract for a new car, the trio now threatens the evacuation – if Lynette does not somehow succeed in raising the sum overnight …
The premise of “Night Always Comes” with a lot of time pressure in money procurement now does not sound original – and the stylistic devices that are repeatedly displayed as excitement have also been seen more often in comparable films. In fact, “Night Alway's Comes” refreshes the expectations of refreshing, precisely when the plot progresses: Lynette does not run armed and masked into the nearest bank, but rattles her friends, acquaintances and customer base for cash. Their long and atmospherically densely filmed car trips through various quarter of Portland, Oregon not only pass precarious living conditions on the street (the USA listed a rope in the big cities in largely stagnating income in 2024 record numbers of homelessness), but increasingly also in Lynettes, painful past.
Vanessa Kirby's performance wears the film
After a chase with aggressive criminals (including a small, technically demanding plan sequence without a cut), she knocks on the door of Tommy (Michael Kelly) to put it over to heat up coke. Although it is currently owner of a junk shop, he has sold the body of the then 16-year-old Lynette as a pimp. This has shaped this to this quickly – which is why it is all the more strange that director Caron only briefly flashed out of this illuminating life episode of the lynette, which is often described as an early bar, whose past remains in vague hints for a long time.
Vanessa Kirby, which is extremely present in almost every attitude, gives her restless, tense and fragile figure deeply human features – which is also due to a movable, literally due to it, which suggests great sustainability. Again and again she swallows her sheer desperation, visibly preserves her contance even with completely empathetic courses-for example if she is not open to her worries if she is not an open ear for her worn.
“The Hateful 8” star Jennifer Jason Leigh gets a little too little space between lethargy and leap into the day.
While Eli Roth gives a passable idea as a greasy fiesling, Jennifer Jason Leigh is simply neglected in her few scenes to give real contours to the lethargic-diving mother role, which, for example, is completely euphoric and strikes at a “Mazda Madness” promotion. This also applies to the news, which is initially well-rehearsed as voice-over, the tense housing market in the USA, which underpin the ultrar-loving situation of Lynette with its impending homelessness, but at some point simply no longer play a real role.
Conclusion: As an extremely grounded thriller drama, “Night Always Comes” does without a large action brimborium and convinces with a playful Vanessa Kirby. This is refreshing, works astonishingly well – and can be overlooked that the socially critical background remains only indicated.