Released to theaters in the theatrical dog days of mid-2020, Jonathan Milott and Cary Murnion’s “Becky” became a home-formats hit, its gleefully tasteless home-invasion thrills a guilty-pleasure to…
. Their efforts generate rewards that are somewhat diminished, if still diverting. Quiver is releases this SXSW-premiered sequel to U.S. theaters, with home-formats dates as yet unannounced.
Now a not-so-sweet 16, Becky is introduced doing “anything to keep me off the grid and out of the system,” including robbing foster parents she has zero intention of staying with. She has, nonetheless, found ongoing shelter under the roof of Elena , an elderly woman with a similarly wary attitude towards humankind. It’s unclear whether Becky goes to school, but she does go to work, waitressing at a local diner.
These “Noble Men” have stashed a whole arsenal of paramilitary gear in a barn owned by local leader Darryl . When he realizes his new recruits stirred up irrelevant trouble on the eve of a planned government insurrection, he is unamused. Patience wears even thinner as all these he-men discover they’re now under siege from one teenage girl who’s commandeered their weapons, and refuses to be properly awed by their assumed ethnic or gender superiority.
But now the game Wilson seems a more generic “La Femme Nikita”-type female action figure, acrobatic and indomitable. She makes arch asides to the audience as she goes about her business, and their attempted wit is pretty generic, too. The film’s pacing is brisk enough, though the action doesn’t really heat up until the last half hour. Despite considerable gore, it only sometimes rises to the first film’s spiciness level in punchy ideas or staging.
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