If you don't like this, we can't be friends.

Don't listen to the negative reviews

It's easily one of the freshest, sharpest and most enjoyable films of this year.

The film never slows down or bores, plunging from one harrowing sequence to the next.

Gritty, slow burning art house drama set in the harsh, unforgiving state of Texas. Most of the focus is on Vincent Doenges at first, but Noah Taylor gradually steals the show.Shot with a murky teal and green colour palette, this nihilistic tale of sex and misery has some challenging moments.If you're uncomfortable with the sight of a grown man stabbing a 10 year old girl in the leg with a large military knife while she's gagged and bound to a chair, this might not be the movie for you.I rate Red White and Blue at 26.64 on the Haglee Scale, which works out as a deeply disturbing 8/10 on IMDb.

I first heard of writer/director Simon Rumley through The ABCs of Death, for which he contributed the letter 'P'; I wasn't particularly impressed. Catching up with Red, White and Blue, however, has made me sit up and pay attention…I usually try to write a short synopsis for my IMDb reviews, but to give away even a tiny part of the plot would be to potentially spoil the whole experience, suffice to say that the film goes to some very dark places indeed, and viewers should prepare themselves for a bleak, depressing, and ultimately very gruelling ride.Admittedly, for the first forty minutes or so, I was wondering where the hell this was going, the story seemingly aimless, the stark, minimalist approach taken by Rumley difficult to adjust to (the film has almost no music on the soundtrack, sparse dialogue, and is choppily edited), but I had heard good things about the movie, so I stuck with it—and I'm glad that I did. The plot gradually takes shape, building into one hell of a gruesome (and sad) revenge tale that lingers long after the credits have rolled.

The slow as molasses in Antarctica "Red, White and Blue" seemed like a three-hour movie but for some reason still had a lot of missing parts. None of the main characters were appealing in the least and that makes it extremely difficult to garner sympathy for such unfeeling people. Revenge is not always sweet and it's very hard to figure why Carl would go on such a murderous rampage over a girl he barely knew and who stated unequivocally that she wouldn't have sex with him. And why would he take it upon himself to murder(?) innocents like Ed's wife and child? There was way too much jumping around, unasked questions and unresolved threads to make this a must see movie. I give it a 2 for unrealized potential.

This movie seems to be two halves. Amanda Fuller's Erica makes her way through the slow grind of life with anonymous sexual encounters (her choice) and a long series of jobs and addresses. She meets Noah Taylor's Nate, and begins to thaw.This was probably my first disagreement with the film...I wasn't sure if I believed she would become close to him. Nate is a construct, a theme from the director, but rarely a flesh and blood creation I could relate to.The rest of the film relates to Marc Senter's Franki, stuck in a job he doesn't care about, always chasing rainbows with a girlfriend who looks elsewhere, and a dated band waiting for superstardom. He takes care of his mother, a sweet and slightly defeated woman who is probably the most achingly realistic character in the film. I truly cared about these people. The happiness they feel when their lives seem to be turning around is the film's emotional and creative high point.Amanda Fuller and Marc Senter have some strong scenes but the movie steadily fades, with the last section mostly being about an entry into shock value, more than what suited the characters or plots.I'd love to have seen another version of this movie, without Nate.