Unabashedly pulpy, Rushlights brings to mind the noir cheapies churned out by the studios of Hollywood’s Poverty Row in the early 1950s. It has a few of the better qualities of sub-B noir—above-average camerawork, a rogues gallery of bit players — and all of the flaws.
30
Village VoicePete Vonder Haar
Village VoicePete Vonder Haar
The endless hidden connections and coincidences eventually become ridiculous.
When it comes to film plotting, too many twists just result in an annoying tangle. And there are too many twists in Antoni Stutz’s uninvolving Rushlights.
30
Arizona RepublicBarbara VanDenburgh
Arizona RepublicBarbara VanDenburgh
A by-the-numbers thriller that wouldn’t even have made for a particularly good hourlong episode of a weekly crime procedural, never mind an honest-to-God feature-length movie.