All of this is tied together by Reynolds’s shockingly, impossibly great performance. He’s in virtually every frame, him or a foot double; the absolute only anchor we have is his face and his fear. Reynolds sells this character as well as he possibly could be sold, given that the entire performance can and must be nothing but a descent into increasing terror and anger and misery. It’s a brilliant performance, painfully physical, and far beyond what I would have ever expected from this man, even as he’s slowly demonstrated in the past couple of years that there’s some definite talent behind his pretty boy looks.