Aimee Lagos’s film about the violent intersection of four lives—two middle-class girls and two boys from the wrong side of the tracks—toggles back and forth between the quartet sequestered in a speeding car and the events that brought them there. The film cuts with such precision that there’s scarcely any room to breathe; it’s the rare thriller that is perhaps too tightly structured. Lagos makes her socioeconomic points through artfully timed editing, but despite her careful subversion of racial stereotypes, the movie’s conclusion seems obvious: No one can escape the threat of a potentially unhinged underclass. Thanks for the sensitive insights into the underclass.
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