REVIEW: Death Waits for No Man
– By Dave Cliffe
Uzal (Bradley Snedeker) is an Iraq war veteran who seems to be drifting through the night and needs to be where he needs to be. After an altercation with a local drinker outside a bar, Uzal ends up going back to Lily’s (Angelique Pretorius) place for a drink. It’s only back at her place when things get weirder when she asks him to kill her husband, Sinclair (Corey Rieger).
Recalling the likes of Hitchcock and noir-based features, the premise of Death Waits is simple, however, it is all about the execution and players involved. Firstly, the film works well within the constraints of its budget; it ascends when it gets to the central location of Lily’s apartment, as it works well as a confined singular location for intimacy and atmosphere. Where it doesn’t quite work well with is the initial scenes in the bar; it almost feels like a make-shift bar on a high school stage.
However, when the film reaches the main event of the apartment, it comes into its own, that is, the actors are allowed to flex their acting muscles and work in tandem with the tension-filled scenes and witty script. Uzal is a man of few words, but Snedeker has the charisma and presence to instill a sense of mystery about his character. However, it is Pretorius and Rieger who shine in the film, as the push and pull script between them is accentuated by their bitter, calculated and underlying issues.
Death Waits for No Man does not reinvent the genre or attempt to be a cinematic game-changer, however, as a dramatic thriller it works considerably well and is mainly executed with assuredness. Director, Armin Siljkovic has shown great promise here with his direction of actors and skill of creating palpable tension.