Every so often a movie comes around that just looks interesting, but you are not prepared for just how stunning it truly is. It just seems like another good thriller that might be nicely satisfying, but this movie is far and beyond such meager expectations. Prisoners attracted me because I really love Hugh Jackman. He has such a genuine depth of humanity and intense screen presence in so much of what he does, but even then, I didn’t expect a performance and a film on this level of masterful brilliance.
How far would you go to protect your family? Keller Dover (Hugh Jackman) is facing every parent’s worst nightmare. His six-year-old daughter, Anna, is missing, together with her young friend, Joy, and as minutes turn to hours, panic sets in. The only lead is a dilapidated RV that had earlier been parked on their street. Heading the investigation, Detective Loki (Jake Gyllenhaal) arrests its driver, Alex Jones (Paul Dano), but a lack of evidence forces his release. As the police pursue multiple leads and pressure mounts, knowing his child’s life is at stake the frantic Dover decides he has no choice but to take matters into his own hands. But just how far will this desperate father go to protect his family?
Brought to us by director Denis Villeneuve, Prisoners is undoubtedly the best film I have seen all year. A tight, taut, suspenseful and engrossing thriller that hits powerful emotional chords everywhere. If you thought the trailers gave too much away, you are very mistaken. There is so much more substance and plot nuances that a trailer could never accurately convey. Surely, I will not spoil anything for you, but the mystery of this film is cunningly devised with intelligent turns and a remarkable progression. There are many fine layers of character, emotion, and story here that interweave perfectly and beautifully. We are treated to so many well fleshed out characters inhabiting a story of very intense emotions and radical, unsettling violent actions with nerve racking consequences. You feel every ounce of emotion from these characters, and Villeneuve’s direction shines gloriously in every detail. I also love that nothing in this film is a red herring. Every lead, every piece of evidence, every detail adds to the puzzle which is brilliantly plotted out from a stunningly well written screenplay by Aaron Guzikowski. Prisoners is meticulously mapped out every step of the way, and Villeneuve utilizes all of that emotion and strategic, deliberate pacing to absorb you into the movie.
The cinematographer for this film was Roger Deakins, who also shot Skyfall which was immaculate work, and he does not falter here at all. I was constantly struck by the quality of the compositions as they all hold so much weight. Villeneuve has this shot and edited in a very conservative manner so that the substance of every frame soaks into the viewer so deeply. Early on, I love how fairly brief scenes are played out in wide masters to give you a dramatic and stoic impact on the story. The inspired cinematography constantly envelopes the screen translating the dramatic power of Villeneuve’s cinematic narrative in such exquisite detail and poignancy. The quality of the visuals, how the film is shot, and the style of editing constantly made me feel like this was a very 1970’s thriller with a modern polish. Even the Earth toned color palette reflects that, and the autumn / winter setting adds to the grim, somber atmosphere. Every technical quality of this movie is used to suck you into the depth of what transpires. Even the score is immensely effective, yet subtle. Everything just works with such precision to excellent effect.
I honestly believe that Hugh Jackman could possibly earn himself some accolades come awards season time. My faith in his talent has been paid off time and again, and I love seeing him in these gritty, hard hitting dramatic films. Keller Dover is a man who believes in preparing for the worst while praying for the best, and so, he is used to doing everything possible to protect his family from all dangers. When he feels he must take matters into his own hands, the emotional intensity of the film escalates drastically. Jackman is intensely powerful in this role pushing himself to that extra level that separates great from extraordinary. Pure, raw emotion pours out of him as Keller Dover struggles with doing the right thing for his daughter even though it is the worst, most unimaginable thing he’s ever done. The absolute conviction of what he believes he must do penetrates right through the screen right into your soul. This film constantly pushes this character into further emotionally and morally strained situations that challenge Jackman to deliver on higher and higher levels which he exceeds over and over again. This is why I love Hugh Jackman and why I was drawn to seeing this movie. He’s an incredibly relatable and engaging acting talent who pulls you in based on his depth of humanity, and that is gorgeously on display here in a masterfully crafted film.
Now, I haven’t seen Jake Gyllenhaal in anything since Donnie Darko, and it’s great seeing him in a mature, hard edge role. He is really solid as this vehemently dedicated cop who maintains a level head while remaining fully committed to this case. I love seeing how Detective Loki handles the strained, heated emotions of the Dovers and Birches, and how he manages everything with meticulous perceptiveness and a dogged mentality. It’s a wonderfully written character that empathizes with these hurting people and conveys his confidence with sincerity. Gyllenhaal is intensely compelling and intriguing to watch as the film progresses. From the moment he’s introduced, eating alone at a Chinese restaurant on Thanksgiving, he is complex and unique. I like the nuances added into his character such as the various small tattoos on his hands and neck. They give him a darker, grittier edge along with Gyllenhaal’s sort of dark aura. Yet, he is not a dark character, but is a riveting one that adds his own intensity to the narrative. This is also a marvelous performance that only becomes more fascinating and gripping at the film progresses.
The rest of the cast is equally as powerful. Mario Bello’s character of Grace Dover deals with this frightening tragedy of her abducted daughter by falling apart, relying on medication, and just becoming a mess. It’s a pure visceral deterioration of a person torn apart by fear and pain for a loved one. Terrence Howard is another actor I just love, and he delivers such vulnerability. The struggle Franklin Birch faces when Keller pulls him into the abduction and torture of Alex Jones is a perfectly human conflict. He wants his daughter back so badly, but almost can’t reconcile the morality of what he and Keller are doing to this man with the IQ of a ten year old. The dynamics between all of these characters and their passionate, pained emotions is magnificent to behold. Even Paul Dano makes you empathize so deeply for Alex. You are never certain whether he is responsible for anything at all, or that Keller is torturing a completely innocent man. The story twists around so beautifully wrapping everyone up in this complex tapestry that any truth is possible. Even more so, nothing is all that clean cut for any suspect, and no one is completely innocent. Everyone has something shameful, shady, or tragic which shows that these are real, textured, flawed people. Every character is written and performed with such substance and rawness that you can never take anything for granted or predict where this story will lead you.
I was constantly pleased with the sophistication of storytelling here. There were times I was a tad apprehensive that the pay-off of the mystery, or that the identity of the abductor would be spoiled too soon. Instead, it was another element of the puzzle being laid out carefully with surprising, unexpected, yet entirely purposeful turns. As I said, nothing is a swerve. You’re not lead down a frivolous path to a false lead. Everything introduced in this story is there for a substantial reason. The ultimate reveal is great allowing for everything to really fall into place, and put certain characters into further, tenser jeopardy. I loved how the final act unfolds. There’s real danger at hand, and nothing proceeds remotely like a cliché. This is a fresh, smart thriller that will captivate your attention for its entire 146 minute runtime. One would think that a deliberately paced thriller with that kind of runtime would lag somewhere or feel drawn out, but Prisoners makes amazingly solid use of every minute of screentime to progress every element of story and character to its ultimate, immensely satisfying and brilliant conclusion.
Denis Villeneuve has just come out of nowhere for me, and now, he has my undivided attention. Prisoners is absolutely perfect. There is not a single aspect of it for me to criticize, only praise. This is an incredible cast delivering amazingly powerful and raw performances in a rattling and haunting thriller. I have never stated in a review of a newly released movie that it is the best one I have seen all year because you never know what else could surprise you in the remainder of that year. However, I cannot imagine what else is possibly going to steal away that title from Prisoners because it is that stunningly impressive without a flaw in sight. Do yourself a great favor and see this movie and support it. I hope you are as enthralled with it as I was.
This film of magical heists and mystery looked like just a fairly fun outing from the trailers, and I’m glad to say that is what I received. Now You See Me has a great cast of talent that delivers, a script that is smart enough, and a premise that maintains your interest to see where the next twist will take you. It’s not brilliant, but it is well designed to entertain.
An elite FBI squad, led by Agent Dylan Rhodes (Mark Ruffalo), is pitted in a game of cat and mouse against “The Four Horsemen,” (Jesse Eisenberg, Isla Fisher, Woody Harrelson, David Franco) a super-team of the world’s greatest illusionists who a year ago were mere street performers. “The Four Horsemen” pull off a series of daring heists against corrupt business leaders during their performances, showering the stolen profits on their audiences while staying one step ahead of the law. Their sensationalistic crimes also ensnare the attention of Thaddeus Bradley (Morgan Freeman) who now debunks and exposes the tricks of magicians for his own gain. As the Horsemen’s grand game of misdirection and slight of hand escalates towards their grand finale, it’s a cunning game of wits for all to pull the curtain back to unveil the hidden truth behind it all.
Indeed, what sells this film in general is the excellent acting talents involved. Morgan Freeman is surefire as this former magician who now seeks to debunk the best in the business for higher fortune. He keeps the riddles twisting around the audience leading us on, but never fully revealing the next step. How he deconstructs how the Four Horsemen executed their tricks and heists is smartly done. Freeman does a wonderful job here bringing his usual intellectual savvy to this perceptive character.
The Horsemen themselves are vibrantly portrayed with Jesse Eisenberg being the strongest of them as J. Daniel Atlas. He really projects some smart, quick witted savvy that demonstrates Daniel’s leadership, and his humorous banter with his co-stars is quick and sharp. He definitely feels like the guy who could outsmart anyone in the room, and do it with style. Isla Fisher plays nicely off of Eisenberg as Henley and Daniel have some romantic fallout between them, but it’s kept light and smart. Woody Harrelson puts in a real good performance showing Merritt McKinley to be a very intuitive personality from his skills as a mentalist. He can read people up and down, inside and out to pull little hints of information from them, and Harrelson uses that to solid comedic effect. Dave Franco might seem like the weak link in the team, by design, but he eventually gets his moments to shine as street hustler Jack Wilder. Altogether, this is a great foursome of sharp talents that never upstage one another, but instead, complement each other in a cohesive fashion. They’re very fun to watch.
And of course, Mark Ruffalo is a charming treat as Dylan Rhodes. Ruffalo brings charisma and a rough edge to Rhodes, but maintains him as an enjoyable, smart guy that you can connect with. He is always portrayed as a competent and solid FBI Agent, but you see him trying to deconstruct all of these theatrics with regular investigative work. So, it’s a fun ride to see him weave through it all dealing with Thaddeus Bradley as well as French Interpol Agent Dray, who you’re given reason to suspect as being not entirely as she seems. Ruffalo has decent chemistry with Mélanie Laurent. There are never sparks flying between them, but it’s an honest and sweet pairing that has its light humor and genuineness. Basically, if you liked what Ruffalo did as Bruce Banner in The Avengers, I think you’ll enjoy the humor, heart, and charisma he brings forth here.
The visual effects throughout the film are very excellent. They sell the flash and style of the Horsemen’s illusions with stellar results. There might be one or two moments where the CGI isn’t as good as it is elsewhere, but in the vast majority, this is seamless and awesome work. It gives the film its visual flare and style. And it is an exceptionally well shot movie. Director Louis Leterrier really knows how to put together a visually solid movie as I did very much enjoy The Incredible Hulk, and the integration of visual effects into live action is superbly done under his direction. Leterrier beautifully utilizes all the rich talent he has at this disposal here, and executes this script with smart direction that kept me engaged and guessing.
And while I expected fun and flashiness, I was pleasantly surprised that the film had some nice action sequences. There’s a decently well stage foot chase through the crowded streets of New Orleans with some clever beats. Later on, when the FBI is closing in on the Horsemen, we get an extremely impressive and acrobatic fight scene with Franco and Ruffalo. There’s some great, fast, and fluid moves in this that just stunned me from Dave Franco. He’s combating people with swift actions like that of a ninja, and this sequence showcases smarts and sharpness in every second. Following this, there’s a really good car chase through Manhattan, New York. All of this action is very well done with only a few minor moments of shaky cam, but it ultimately came out to be very pleasing. The film’s climax isn’t really action based, but focused on the story and motives behind this elaborate magic trick. It unfolds nicely with fine dramatic beats, but surely, I won’t be spoiling any of these well written and executed reveals to you at all.
How the mystery all plays out is engaging and intriguing. I kind of view the movie, going in, as The Prestige crossed with Ocean’s Eleven, and that’s generally how to look at it in concept. It doesn’t match the brilliance of either of those films, but as I said, it’s a fun, entertaining experience. It is the twisting and turning puzzle that the Horsemen are constructing that make it interesting. You don’t know what the next trick will be, but it’s about even more than that. It’s not just the magic that they perform and how they did it, but the motives behind it keep you guessing. It’s cleverly designed through and through. How it’s all setup with a mysterious benefactor bringing together and enabling this foursome, even the Horsemen don’t know the full truth, and so, there is a layered mystery at hand. The FBI is just interested in catching these performers in the act of the crime, and Bradley is interested in burning them down for his own self-serving fame and fortune. So, everyone has their motives, and they all nicely interweave into the reveals at the film’s end. The ultimate twist is something I’m a little divided on. I liked the moment of the reveal as it is dramatically and beautifully played, but it wasn’t quite setup in the film. All of the other pieces are there to assemble the motives and interwoven storylines together. As a magic trick played on a grand canvas, this film does a really excellent job of doing that. The ultimate reveal just felt like it needed a little more punch. Something like a Keyser Söze reveal where the clues were there the whole time, but you couldn’t pick up on them. Something subtle, something between the lines that would strike you at just the right moment. I could figure out the why, but not entirely who amongst this cast or beyond would be the Horsemen’s ultimate benefactor. It’s far away from being a poor ending, but it could’ve benefitted from a little more setup.
Frankly, I think Now You See Me is just a fun time to have at the movie theatre. I’m sure if you went into it with a critical mind you could nitpick it apart, and see how really unbelievable the plot is in all its little nuances. Thankfully, I was enjoying myself consistently throughout this movie, and was able to sit back, relax, and just have a pleasant time with it. Just like magic, you have to let your mind go and just allow yourself to be entertained by the cleverness and spectacle at hand. The film is smartly written overall, in my opinion, and I found that there was plenty of subtle setup and pay-off for practically everything in here. This film captures the spirit of magic very well, and it’s almost refreshing to see a film of so many vibrant characters without a real villain in the mix. Everyone is enjoyable in their own ways, and next to no one is tinged with villainy. It’s just a fun ride that I think essentially anyone can enjoy if they’re willing to just embrace it.
I did see this movie in theatres, but it was a week after release and I didn’t have much ambition to write up a review. Now that it’s out on home video, I can put my thoughts together on this very well made thriller that, yet, still lacks a certain memorable quality. Jack Reacher is based on One Shot by Lee Child, and while the movie does some significant departures from the 6’5″ towering blonde character with the casting of Tom Cruise, on its own merits, there is an enjoyable film to be had here from a very capable director with a fresh style.
In an innocent heartland city, five are shot dead by an expert sniper. The police quickly identify and arrest the culprit, former U.S. Army officer James Barr (Joseph Sikora), and build a dead bang guilty case. Regardless, Barr claims he’s innocent and delivers only one message to the police, “Get Jack Reacher.” A former Army Criminal Investigator, Jack Reacher (Tom Cruise) sees the news report and turns up in the city, but comes only to condemn Barr based on past history. However, Barr’s attorney, Helen Rodin (Rosamund Pike), pulls Reacher into her investigation in order to get to the truth, but he will only do so if she looks into the lives of victims so to gain an objective, moral view of Barr’s alleged crime. Reacher sets out to confirm for himself the absolute certainty of the man’s guilt, but comes up with more than he bargained for as he uncovers a seedy conspiracy of corruption.
This film is directed by Christopher McQuarrie who also wrote the screenplay. He is most well known as the screenwriter of The Usual Suspects, but this is a distinctly different style and tone of film that I do feel he handles competently and sharply. The film starts with a strong weight of drama as we see the cold, calculating, and brutal sniper killings resulting in a traumatic, jarring impact. How Reacher is pulled into the story reflects perfectly on the character himself – smart, sly, quick-witted, and unpredictable. McQuarrie is able to firmly ground the drama of this story while still offering sharp dialogue with dashes of levity and personality. We do get these clever moments of humor that are somewhat unexpected, but for whatever reason, they are very entertaining and just work surprisingly well. The balance between the serious and humorous are in the right balance. He uses the humor to add levity and entertainment value to the movie while the drama creates the narrative’s momentum. McQuarrie also knows how to solidly plot out a mystery, as The Usual Suspects demonstrated. He lays out all the facts, perceptions, and details in very intelligent ways. It never feels like a dry procedural, but a compelling web that Reacher is intricately and confidently pulling apart one strand at a time.
And it is the Jack Reacher character that makes the investigation so intriguing. How he approaches the evidence, what nags at his mind, how he perceives motive and reasoning create a fascinating deconstruction of this mystery. Tom Cruise embodies these qualities exceptionally well. I also love how he slyly bulldozes his way through a situation. He’s not a guy who suffers anyone, and is determined to get to the truth no matter who’s standing in the way. Yet, he’s not a battering ram. He uses smarts, wit, and bravado more than force which makes him intriguing to watch. Cruise harnesses a hard edged confidence and presence that creates an intense electricity in his performance. Despite his average size and build, Cruise feels formidable from how he carries himself. While the Reacher of the books is meant to be this physically large man sort in the vein of a Dolph Lundgren, I feel that Cruise’s smaller stature works to excellent effect. He’s more unassuming, more average looking. You don’t expect a brutal ass kicking from him, but that’s just what you get. In Cruise’s hands, Reacher is a skilled and intelligent man with a sort of dry yet sharp sense of humor who can assault any enemy with tactical efficiency. This has long been within Cruise’s physical capabilities between his work on Collateral and the Mission: Impossible films, and he has always been an immensely dedicated physical actor. Altogether, I feel Tom Cruise is a stellar, wicked cool fit for this role as written here, and he puts in a solid performance.
Another great performance comes from Rosamund Pike. The script gives Helen Rodin a smart set of conflicts that are both internal and external. Reacher has her get personal with the victims of this sniper attack, and it forces her to realize the impossible nature of her position as the defense attorney. It gets pushed further as the truth is unraveled by Reacher, and it becomes more and more difficult for her to trudge forward with any course of action, yet she still does. Externally, she has her own father as the District Attorney opposing her from continuing on with this case, and there are conflicts with Reacher as they battle back and forth on their ideals and viewpoints on the case. Pike gives us a character that does question herself, and struggles with these moral quandaries that Reacher puts her into. Yet, she is her own person, making her own choices, and showing her strength while still being a vulnerable, compassionate person. Rosamund Pike is purely excellent in this role giving us emotional dimension and assertive strength, and it surely doesn’t hurt that she is exceptionally beautiful to my eyes.
The film’s villain comes from a surprising source – German filmmaker Werner Herzog. He portrays The Zec, a former prisoner of a Russian gulag, now the leader of this gang perpetrating corruption in this city. He’s both a chilling, threatening presence and a darkly enjoyable villain. He’s got this pretty extreme back story of having gnawed his own fingers off to survive his incarceration, and tries to force this average street thug into doing the same to prove his worth to him. It’s a crazy moment in The Zec’s introductory scene that really sets the tone for how tough and ruthless this villain is, and I really liked it. It surely feels a little over the top, but the dead serious weight given to it sells it in entertaining fashion. Herzog certainly has done acting in the past, but it’s certainly a surprise turn in this film that succeeds in spades. And even Jai Courtney is thoroughly impressive as the more action centric villain Charlie who causes trouble for Reacher throughout the movie, and battles with him at the end. He’s got a solid presence that sells a lot of his character without him having to say much. He showcases charisma with just a sly smirk, and just feels like a sharp talent with a lot of potential in him.
And lastly, we get a fun, quirky performance from Robert Duvall as this ex-Marine that runs a gun range and ultimately aids Reacher during the climax. His chemistry with Cruise creates some great levity during the very dark and heavy final act.
On all technical levels, this is a rock solid feature. It is excellently shot by cinematographer Caleb Deschanel. The fantastic use of smart angles and purposeful compositions really enhance the intrigue and calculating aspects of the story and characters. In conjunction with the great, conservative editing by Kevin Stitt, we get a very effective thriller with solid scenes of suspense and poignant character moments. With McQuarrie’s very competent and solid talent at the helm, it really forged something that highly impresses in both technical skill and storytelling ability.
While the film has an intricately woven mystery at hand, it never overshadows the worth of the characters because without them the story doesn’t mean as much. I do love that the film does take the time to flesh out who those victims were, what their lives were like, and allows us to connect with them on a brief but strong emotional level. Christopher McQuarrie does the same thing with us that Reacher does with Rodin in this instance – have us connect with those people on a personal level. These are not just faceless victims. These were people with lives and loved ones, and they are not trivialized in this film, which is immensely commendable and really a breath of fresh air. It emotionally motivates both Reacher and Rodin to move forward in their efforts to unravel this plot and expose the truth, and it has purpose in unraveling the mystery.
And indeed, this film features one of the best car chases in recent memory. It has a very tense stare down between Reacher and David Oyelowo’s Detective Emerson after Reacher has just been framed for a murder. That stare down then explodes into this visceral 1970’s throwback car chase. It’s fantastically shot never tightening the frame too much, or shaking it all around with incompetence. We have beautiful compositions all around with an intense visceral quality fueled by the mere rumbling sounds of a muscle car engine, and solidly paced editing. That’s a page taken right out of Bullitt, and I think this chase does follow strongly in that tradition. It was a great happenstance that the Chevy Chevelle actually wouldn’t start during filming creating this great, real moment of it stalling out in the middle of the chase. This is an awesomely hard edged chase that does not overstay its welcome. It’s right to the point delivering a dose of adrenalin in the middle of the film, and the sly, clever ending to that car chase is so right for this character. The film does have very good action scenes, but it’s not proper to call this an action movie. It’s definitely a mystery thriller with solid shots of action. There are some entertaining fight scenes, and a very hard edged, very violent climax.
McQuarrie does choose an interesting tone and approach to the action scenes in that there’s hardly any score that plays through any of them. I saw this approach taken during the anti-climactic shootout in 2006’s Miami Vice, and I didn’t feel it was especially successful. Here, while I was undecided about it after my theatrical viewing, I do now feel it is rather effective for Jack Reacher. The tactical shootout in the quarry starts out with just the sounds of gunfire and some stellar cinematography and editing to make it work. However, when it moves further along, we get some suspenseful music cues, but the action itself remains raw and visceral without any music accompaniment. When Reacher and Charlie finally throw down, it’s just the harsh sounds of bones cracking and rain pouring to sell the hardened violence. The conclusion to this is very telling of the character in regards to his code of justice. It’s not really what you’d expect from an procedural crime thriller, but it is fitting overall. Now, I do feel like the ending lacked maybe a definitive sense of closure or consequence. There aren’t any actual hanging plot threads that I picked up on, but a more solid, stronger ending might have given it that extra added punch to please audiences. Reacher simply departs after all the action is done leaving others to clean up his mess which creates a feeling of an unresolved something. The ending has some poignancy and sly qualities in two separate scenes, and this ending is far from being poor in any aspect. I just think it could’ve used a stronger punctuation for the story and characters.
Ultimately, Jack Reacher is a very well directed, well acted, and overall very solidly made movie. The screenplay is very smart with a unique balance of dramatic weight and humorous levity that oddly works very well. The Reacher character is a very interesting one well embodied by Tom Cruise. He’s not explored in a lot of depth, but we get insights into who he is, what he values, and what his convictions are. How he operates, how he thinks, and what actions he takes tell us all we need to know in this story about Jack Reacher. It’s great seeing that despite Reacher having a predisposition towards Barr’s guilt, he’s able to maintain an objective point of view in his investigation. His own personal feelings against Barr never cloud his judgment. He wants the truth, no matter what that might be. These are sure signs of a very smartly written film and well developed character that is thoroughly understood by both McQuarrie and Cruise, thanks to the novels of Lee Child. Yet, despite of all this, I do feel the film lacks that extra spark that would catch on with audiences. It probably stems from the fact that this is not especially an action film, despite the marketing, and more of an intelligent thriller that doesn’t lend to a rousing, exciting experience. For everything that these filmmakers were striving to achieve, they did so with great success, but I don’t feel there’s a great demand for a franchise based on this outing alone. If the filmmakers can put together a film with more action and excitement, I think it could take off fairly well, but as it is, this film didn’t set audiences on fire with anticipation for another installment. While it’s not impossible, Cruise surely has plenty of other projects he’s quickly developing, including a fifth Mission: Impossible film, that he’s not in a major need to launch another franchise.
I’ve really liked this film ever since its theatrical release. It didn’t get good reviews, and was a bomb taking in only $17 million out of its $25 million budget. It continues to show me that while I may love erotic thrillers, they are rarely marketable to a mass audience. However, the sexual aspects of this film are a backdrop for what I view as a fairly solid twisting thriller. What engages me about Deception are the performances of its leads in Hugh Jackman, Ewan McGregor, and Michelle Williams, and the rich, stunning neo noir cinematography by Danté Spinotti. The latter is no surprise as he has shot many Michael Mann films including Manhunter and Heat. I find Deception to be an intriguing thriller that is heavily aided by that striking visual atmosphere, and some smart directing from Marcel Langenegger.
Jonathan McQuarry (Ewan McGregor) is an auditor in Manhattan, moving from office to office checking the books of various companies. While working late, a smooth, well-dressed lawyer named Wyatt Bose (Hugh Jackman) chats Jonathan up, offers him a joint, and soon they’re pals. Jonathan is a very lowly, modest man, but Wyatt soon opens him up to a world of pleasurable desires and sexual confidence. When their cell phones are accidentally swapped, Jonathan answers Wyatt’s phone to a series of women asking if he’s free tonight. He soon discovers it’s a sex club where busy, powerful people meet each other anonymously in hotels for discrete encounters. However, he fully breaks all the rules when he falls for one of the club members, whom he knows only as “S” (Michelle Williams), whom he’s also seen on a subway. Yet, during an intimate night out, she goes missing, patterns emerge, and Jonathan faces demands involving violence, murder, treachery, and a large sum of money.
An excellent neo noir tone of mystery and isolation is struck right from the beginning with the quiet and moody opening title sequence. It’s just Jonathan sitting in a conference room, alone, late at night, but the vibe just sinks in very deeply to establish his isolated nature. He’s isolated from the world around him, always removed from the activity of the offices he’s working at, and has no real social life to speak of. The film is very regularly set in at nighttime inside clubs, hotels, offices, taxicabs, and elsewhere allowing for that dark, subversive tone to seep in. However, even the daytime scenes have a certain drained quality that maintain that atmosphere. The visual tone eases up just enough in those moments allowing you to not get bogged down by the visual darkness. What we get, overall, is a multi-toned film that moves from that lonely isolation to a lively and exciting world that is full of mysterious passion, but then, segues into a very heartfelt romantic connection that becomes the emotionally motivating element of the story. From there, it delves fully into the tense and threatening first, main twist of the film where our villain reveals his true colors.
Within only fifteen minutes, the film establishes a strong relationship between Jonathan and Wyatt. It hits all the right beats fleshing out their personalities with quick, substantive exchanges, and showing us how Wyatt just pushes Jonathan out far enough to take some chances. He opens Jonathan’s mind to being outgoing and perceiving the pleasures that one can indulge in, when the opportunities arise. This then sets Jonathan off on his own seductive, sexually charged encounters that really liven up his life. The sex and nudity are never raunchy. Everything has a beauty, vigor, and sensual quality that is very elegant and classy. We are given context for this anonymous sex club as it is something for the excessively busy successful person to gain “intimacy without intricacy,” as Charlotte Ramplings’ Wall Street Belle states to Jonathan. Still, for someone like Maggie Q’s Tina, there’s a compulsion to the danger of being with someone mysterious and anonymous. It has an attraction and outlet for almost anyone, and for Jonathan, it builds a more confident man. However, as I said, the erotic elements are merely a backdrop, a facilitating plot element that surrounds the film, but never dominates it. They tie directly back into the plot regularly, and the sex scenes are never gratuitous. They all serve a purpose towards the development of the story or characters. Most erotic thrillers use sex scenes as frivolously as many lower grade action films use action sequences. When they have relevance to the story, they work, but when they are just there to fill the skin quota, that’s when you’ve got a late night Skinemax flick. Deception surely and thankfully fits into the former category.
Furthermore, there is nothing wasted in the run time of this film. The pace is tight with an even rhythm and stellar editing. The plot develops very organically, and progresses without a hitch. It’s never too brisk to sacrifice character, but never lags at the cost of the story. Every aspect of the characters and plot fit in snugly, and propel the narrative forward in every scene. The filmmakers knew how far to weave their plot threads, and never stretched them out or rushed through anything. It’s all evenly balanced to achieve the right pace. The story is rather lean, and maybe some would prefer a little more proverbial meat on the bone of the script. However, it really didn’t require or demand more. What we are given works very well giving us enough substance to make this a full narrative, and avoiding any over complicated indulgences or dragged out sections of the film. We are given a few well placed twists that are well earned, and more importantly, are setup with care and intelligence. The little seeds of knowledge are laid out here and there to make the deceptions solid and convincing. All the qualities of the narrative flow together very smoothly and smartly. The second half of the film shows Jonathan’s development as he has the confidence to take action against Wyatt, and become a more capable protagonist when under pressure. I also think the development of the romantic relationship between Jonathan and S is done beautifully, and brings a warm levity to the right parts of the film. This really sets the film apart from other seductive thrillers as they rarely feature a genuinely decent and charming romantic storyline. Ultimately, it is this element that the film is most concerned with, and does continue to make it a point of importance for the characters.
Ewan McGregor is an actor that I have a true fondness for. While I haven’t seen many of his movies, I do find him an exceptional talent who always shows dedication and enthusiasm for his work. As Jonathan McQuarry, he demonstrates a very modest quality. He’s clearly a man of humble upbringings that’s never been adventurous or daring. His new sexual experiences do energize him, but don’t taint the man he is underneath. He matures into a fuller person not held back by his old timid hesitations, but never loses the decency and heart that define him. When he meets and gets to know S, he is genuinely enamored by her in a touching, heartfelt way. McGregor embodies these endearing qualities authentically and with all the kind-hearted charm possible. There’s nothing disingenuous about his performance. It all comes straight from the heart, and when Jonathan’s forced into the more adversarial aspects of the film, the tension and fearful weight of the plot are carried wonderfully by him. He makes for an engaging and sympathetic protagonist.
I am also highly impressed by Hugh Jackman here, as I usually am. He’s also an actor I believe has incredible talent, and he really sinks his teeth into this role. He starts out as a somewhat charming individual who enjoys indulging in all the lustful pleasures of life. He’s charismatic and quite the arrogant jackass, but he’s able to ensnare Jonathan out of his shell with temptations of new, daring experiences. Despite Wyatt’s abrasive ego, you are able to accept him as an intriguing instigator of excitement in Jonathan’s life. Now, I don’t believe I’ve seen Jackman portray a full-on villain before, but he is intensely intimidating as one here. His manipulative turn later in the film is dark and devilish. There’s enough mystery about his character to make him threatening, but when you find out what he is capable of, that only backs up and enhances the severe, frightening qualities of Jackman’s character and performance. Overall, I think he relished playing every facet of this character, and it really shows through while never betraying the grounded weight of the film. Being a producer on the movie I’m sure only benefitted the quality of his on-screen work.
Michelle Williams puts on a beautiful performance, reflecting her own gorgeous physical beauty. She brings out a warm, soulful depth of heart to S. She just glows on screen with her bright smile and sweet presence. She also presents a sexually confident woman who is sensual and seductive, but not aggressive. Williams has a sparkling, heartfelt chemistry with Ewan McGregor that is the shining quality of this film. They play off each other with such genuine loving emotion that you truly feel how special this is for both characters. She is able to convey a rich array of emotions that really forge a connection with the audience in relation to Jonathan. She is a vibrant ray of light that gives this film an endearing emotional weight that we are regularly reminded of, and really has resonance in the end.
The score was done by Ramin Djawadi, who also later scored the Denzel Washington-Ryan Reynolds thriller Safe House, and he is amazingly consistent in his style and quality. As I mentioned in my Safe House review, his compositions are very evocative of the scores heard in many Michael Mann films such as Collateral. Meshed with Spinotti’s cinematography, that couldn’t have created a more desirable result for me. Djawadi does an impeccable job layering in tension, suspense, and an alluring, elegant mystique to the film. It’s just a work of excellence, in my view, and I’m glad to experience his work regularly on the TV series Person of Interest. He puts so much depth and lush sensuality into the Deception score, and I highly recommend checking out the soundtrack release.
Deception was partially shot on digital video giving a bold, clear visual quality to all these dark environments, and this film pushes the visual darkness to a new, deep level. The strip club scene early on has rich, pristine colors. Yet, other scenes are more muted mostly utilizing soft greens and ambers to evoke a very inviting visual mood. Danté Spinotti’s cinematography just makes such gorgeous use of color, as he’s been doing since Manhunter, and his camera work and compositions are stunningly beautiful. This man makes art out of every frame using light, shadow, movement, and depth of field to masterful extent and detail. The Chinatown sequence is a special favorite of mine that motivated me to visit Chicago’s Chinatown shortly after the film’s release. The Chinese architecture and visual culture really creates a romantic mystique for Jonathan and S’s most engaging encounter. Deception has a visual style that really is a feast and a pleasure for my eyes. It sets my artistic filmmaking imagination on fire. Now, I will admit that the first few times I saw the movie, the scenes in Spain at the end left me wanting from a visual standpoint. The rest of the movie was so rich with seductive atmosphere and shadowy moodiness that the soft, muted quality of the daytime scenes in Spain didn’t do much for me.
The ending in general, story wise, left me a bit unsatisfied for a while as well. I won’t spoil anything here, but I will say that the film deserved a stronger, more intense pay-off. It could’ve used a more personal and emotionally charged comeuppance in light of everything that Jackman’s character had done. On early viewings, it did lack an especially impactful punctuation to that aspect of the story. Ultimately, it’s focused on the relationship between Jonathan and S, and I can surely accept that as a vital part of the story. I just felt that the ending we got just didn’t have as much resonance as I would have wanted between McGregor and Jackman. I’m not sure what that resolution would be, but it seemed like it needed a little more build up and pay-off. Of course, on repeated viewings, I have been able to easily accept it by way of familiarity. I still would prefer a stronger resolution to the adversarial conflict of the film, but I can enjoy the film quite well as it is today.
Regardless of this, I still feel that screenwriter Mark Bomback, along with creative input by director Marcel Langenegger, put together a very well crafted and sharply written script. The characters are fully developed and vibrantly inhabit this world and the story, and the plot is tightly wrapped around them. I think the character of Jonathan McQuarry has a wonderful arc that allows him to fully break free of his meek shell, and into a bright world of possibilities. Yet, he has to trudge through a dangerous and seductive world to get there, but it’s an evolution that he earns. The deceptions that weave into the story are very cleverly threaded, and culminate in some chilling, intimidating moments that sell the danger Jonathan becomes trapped in. It’s surely not the greatest mystery of all time, but for someone that just cannot write a mystery to save his life, I have to commend someone when they achieve a rather intelligently written manipulative tale.
So, the big critics didn’t like it, and many didn’t care to give it a chance. I’m not saying it’s some unsung gem of cinema, but Deception is a fine film handled with care by a lot of exceptional filmmaking talents. I really like the narrative it tells, and the qualities of emotion and heart it focuses on in our loving leads. Unlike many dark, edgy, and dangerous thrillers, it doesn’t delve you into the gritty violence or erotic sleaze. It’s an elegantly made film enveloped in a very shadowy, sultry world of treachery and passion. If you have an appreciation for neo noir, I highly recommend this film for the gorgeous, brilliant cinematography alone. Still, there’s plenty to enjoy and find beauty in, and being a major fan of crime thrillers, I’m very pleased to see this film go into some different directions and find something other than fractured souls and tragic crimes. Of course, that clearly means I’m going to have to review some more Michael Mann movies shortly.
This film, directed by James Mangold, is one that I was very impressed with in its original theatrical release, and revisiting it now, it still holds up as an effective thriller. Supported by a remarkable ensemble cast and a brilliant screenplay, Identity delivers a mind-bending story that cleverly weaves its way around a classic murder mystery premise.
Strangers from all different walks of life are all trapped by a torrential rain storm on a Nevada road one night. They are forced to take shelter at an old roadside motel, run by the nervous manager Larry (John Hawkes). There is Ed Dakota, a limo driver, escorting fading television star Caroline Suzanne (Rebecca De Mornay), the turbulent married couple of George & Alice York (John C. McGinley & Leila Kinzel) with their young son Timothy (Bret Loehr), Rhodes, a Department of Corrections officer transporting the dangerous convict Robert Maine (Jake Busey), a beautiful call girl (Amanda Peet), and a couple of young newlyweds (William Lee Scott & Clea DuVall). None of them are at ease amongst these strangers, but circumstances become dire when someone begins murdering them one-by-one. Accusations begin to fly as paranoia and fear escalate, but they will all begin to discover very strange truths about their supposed chance encounter here. Meanwhile in an undisclosed location, in an eleventh hour court hearing, psychiatrist Dr. Mallick (Alfred Molina) tries to prove the innocence and sanity of his patient, Malcolm Rivers (Pruitt Taylor Vince), who has been convicted of murder, and is scheduled to face execution in twenty-four hours. How both of these stories connect is a mystery of identity.
This film will keep you guessing from one moment to the next as to many things. Many twists unfold in plot and perception, and when you think this film has twisted your thoughts into many knots, it throws one final one at you. Now, these twists won’t leave you lost, there’s plenty of breathing room and enough exposition to allow you to understand all that is happening. It is very cleverly paced and structured to keep an audience ensnared through the entire mystery. This film is tense, suspenseful, creepy, and haunting. It is an excellent psychological thriller that has far more to it than just a group of people getting killed off in a very Agatha Christie fashion. In fact, no other film I have seen has utilized this genre quite so well. There is just as much psychological terror for the characters as there is for the audience.
Director James Mangold brilliantly builds suspense and paranoia with a troubling sense of unease. A group of strangers stranded in a run down desert motel definitely lends to that feeling. Considering one of them is a known violent criminal heightens that even more. Subtle things are revealed to the audience that add to our apprehension knowing certain people are not who they claim or appear to be. This creates plenty of clever misdirection. Add in some volatile and emotionally distressed characters, and the tension is wrapped so a tight, unnerving level. When that tension finally breaks, it’s heart pounding. The film hardly never allows an audience to relax fully. There’s regularly some form of urgency or excitement that propels the characters forward towards danger.
The style of the film is very original such as with the immediate flashbacks. You’ll see a lot of them at the start and a bit near the end. They show how certain events brought everyone together in a unique non-linear fashion. It nicely punctuates certain plot elements such as it was Paris’ high-heeled shoe that flew out of her opened suitcase that caused the York’s flat tire later that night. It’s a nice, quick storytelling tool that helps move the story ahead quickly without leaving even small questions unanswered. I enjoyed that element quite a bit, and the direction and editing of them was very handled well. The addition of the rain storm throughout the film is classically atmospheric, and adds to the treacherous, mysterious qualities of the plot. Danger and paranoia are abound as things get stranger and stranger, and the torrential rain and thunder claps simply unsettle the characters and the audience further.
The surreal aspects are also subtly handled. They forge an underlying peculiarity for the strangers at the motel. They attempt to explain them in various ways, but eventually, these occurrences go far beyond mere coincidence or rationale. They can’t make sense of it, but it truly freaks them out. It creates a bizarre, twisted web for them all. These aspects build up so beautifully to an absolutely mind-blowing revelation.
Identity is masterfully shot and edited. Shooting in all that nighttime rain never muddles the visuals. We always have a clear picture of what’s happening without sacrificing the dramatic, moody cinematography. The film evenly balances between various indoor and outdoor scenes giving an audience enough variety in the visuals to keep our eyes interested. There is such great atmosphere crafted into how the film is shot, and the editing really supports the lingering suspense expertly. When things begin deconstructing in the third act, the editing creates an amazing visual style which perfectly represents the psychological chaos. It’s all a superbly executed thriller with many gripping twists and turns that have an excellent conclusion.
This ensemble cast is magnificent! There strong performances all around with John Cusack being the obvious trusting protagonist. He brings his usual heart and wit along with a solid dramatic weight. Ed Dakota is a very relatable character with a great depth of pain and desire to do what is right. He’s given a strong back story that Cusack really grasps the emotional weight and guilt Ed carries with him, making him someone we can invest our confidence in.
Ray Liotta has a nice turn showing both a hardened strength and a shadier side that surfaces later on. He is very intense, confrontational, and adversarial while projecting a presence of authority with a more temperamental edge. Jake Busey is convincingly intimidating and dangerous with a crazed look in his eye coupled with his reliable charisma. John Hawkes is another stellar actor who can deliver a deep array of emotions. Here, he runs the full gamut ranging from nervous and skittish to violent and unhinged. And I really have to say that Rebecca De Mornay is hotter here than I have ever seen her before. She’s beyond gorgeous in my view, as I have an affinity for red heads, and she does a wonderful job as the somewhat egotistical actress Caroline Suzanne. She’s definitely a pleasure. And of course, I always expect nothing less than excellence from John C. McGinley, as many do these days, and he doesn’t fail here. His George York is a very nervous man with little self-confidence who doesn’t cope with these violent, tragic situations well. McGinley brings a lot of compassion and simple innocence to this caring husband and step-father.
Alfred Molina is perfect as Dr. Mallick presenting a soft-spoken, intelligent psychiatrist with a sense of empathy. Pruitt Taylor Vince has always impressed me taking on some substantive and sometimes peculiar roles, and doing an exceptionally unique and standout job in them. For what little time he has on screen, he brings that same level of talent to Malcolm Rivers. That jittery eye trick he does seems to land him these off-kilter roles, and it is distinctly effective.
I really have to hand it to the screenwriting talents of Michael Clooney, and especially the directorial abilities of James Mangold. Both crafted together a very solid, smart, and effective thriller that has plenty of genuine scares and suspense to entertain an audience. Because of this, it still has re-watch value. The film is so strong that it would still work just as marvelously without the major twist at the end. The mystery thriller aspect with people being killed off at the motel is just expertly executed in every way. The addition of said twist just ups the psychological brilliance of the concept. I definitely give Identity a wholehearted recommendation, just as I did when it was theatrically released.
The direct-to-video end of the Hellraiser franchise has not yielded very admirable results. However, I found this entry to be a great surprise. Granted, this one doesn’t have a lot of Hellraiser-style gore, but gore alone does not make a Hellraiser film. Although, one early scene might spur thoughts from Hellbound, and I feel this is the best sequel since Hellbound: Hellraiser II. While this does share some elements with Hellraiser: Inferno, it blends everything together very nicely for a superior film. It is a whole twisting story that wraps itself with past mythology and storylines featuring the return of Ashley Laurence.
We open to Kirsty Cotton (Ashley Laurence) and her now husband, Trevor (Dean Winters), driving down the road speaking vaguely of things we are yet to understand. They start playfully fooling around, start kissing, but Trevor narrowly misses a head-on collision with an SUV which swerves the car off the bridge into the river. Tthe car sinks, Trevor escapes, but is unable to free Kirsty. Naturally, Trevor believes she drowned to death, but her body cannot be found. Trevor wakes up to some amnesia along with several disturbing experiences, but he takes them as nightmares due to his head trauma. Trevor is re-oriented to his peculiar surroundings including his sexually aggressive boss Gwen, his sexy young neighbor in his apartment complex, and his somewhat oddly-behaving co-worker and friend Bret. Trevor is plagued by bizarre images and nightmarish experiences all the while more and more of his memory returns. He can’t explain why someone dies in his apartment, but then, reappear alive with no memory of such events. Or why he sees an image in the video camera happening right before him, but yet, it isn’t. Why he feels he’s being watched or followed by a faceless, dark figure. None of it makes sense to him. One cop believes he’s done nothing wrong, but another believes he killed his wife. The further it all progresses, the more it comes together like any sort of puzzle. It’s all cleverly woven into a worthy sequel to the first two Hellraiser films.
I really have to say that I think Dean Winters is a severely under-recognized talent. He’s an actor with a lot of charisma and emotional strength capable of being a major leading man. He always puts everything he has into everything he does. Hellraiser: Hellseeker is no different. He carries this film excellently reflecting various states of confusion, heartfelt emotion, inquisitiveness, menace, and passion. He embodies that wide range with ease and depth. With both how the story is structured, and the honest quality of his performance, even in the end, I didn’t really despise Trevor despite what he tried to do to Kirsty. You can come to feel empathy for Trevor as the man you’ve come to know over the course of this film instead of the man he really was.
The entire cast really is a solid mixture. Detective Lange is given plenty of humanity and compassion by William S. Taylor, and conversely, Detective Givens is nicely hard edged and abrasive by way of Michael Rogers. The ladies of the film are all very attractive, and handle the steamy, seductive aspects of their roles with a lot of passion and assertiveness. There’s definite some stimulating sexually charged action in the movie that further throws Trevor into a whirlwind of confusion.
Doug Bradley puts in one of his best performances here. Of course, he portrays Pinhead, and does so with a lot of chilling, intimidating vigor. He seemed very amped up for this script as it gives him a very juicy role that he sinks his teeth into very deeply. The film puts in just the right amount of Pinhead to keep him compelling with just a few poignant scenes. Since they avoid over indulging in the character, those scenes have strong impact which had been missed in the last several entries. The previous film, Hellraiser: Inferno, had so little Pinhead in it that he had nearly zero impact. Hellseeker gets it right. Bradley also portrays a sort of second character which he brings a different, yet similar quality to. He’s more cryptic and tempting in a subtle fashion that is very effective. His performance as this Merchant really sets a foreboding, mysterious tone for much of the film. The scene is very nicely interspersed throughout the film as Trevor flashes back to it every so often to reveal more of it.
The structure used here to build up these very vivid and terrifying hallucinations, and slowly reveal the darker truths surrounding Trevor is, dare I say, very brilliant. While it’s not all that original of a structure, the execution is just so exceptionally effective. The hallucinations are startling and constantly unnerving to an audience who must regularly question the reality of the situation. The mysterious aspects are greatly interwoven for a very compelling story that moves at strong, steady pace. Overall, this is just an exceptionally well written and executed script that has a strong punch of a twist ending.
The film was directed by Rick Bota, who had previously been an amazing cinematographer on a number of movies. So, it’s no surprise that he makes this film look far above its direct-to-video status. He clearly worked extensively with director of photography John Drake to create a very textured and moody look for Hellseeker with its blue and green tones. It creates a hardened, cold aesthetic that benefits the story very well. There is plenty of grit in the darker visuals and a rich depth of contrast that enhances the moodiness. The visuals really have a lot of weight and integrity, and the camera work is very solid. There’s plenty of dramatic angles, used sparingly, and competent camera movement to give this film production value and artistic quality. Overall, this is a film that is shot very solidly.
While the Steven Edwards’ score is definite departure from the classic Christopher Young style music, it suits this film nicely. There are some electric guitar pieces mixed in with the orchestral work, and I think that gives this Hellraiser film a bit more respectable self-identity. The score of Edwards surely supports the unnerving and startling tone that is so very well executed by Rick Bota.
Hellseeker still unsettled me after several years since my last watch of it. There were plenty of graphic sequences that made me squirm and wince. These are great story beats that weave into the overall plot smartly by the end. Nothing’s ever gratuitous. It all has a purpose once understood in retrospect. The effectiveness of this nerve twitching moments are a testament to both the amazing make-up effects work of Gary Tunnicliffe, and the digital effects work headed up by Jamison Goei. Regardless of a direct-to-video budget, the results of both are greatly impressive. Tunnicliffe really raised the standards of practical effects back to the first two films of the franchise. I will admit that the Cenobites still have the same quality as they do in the other later sequels, they are surely photographed better. The visual effects of Goei are very admirable on this kind of level. I’ve seen big budget summer blockbusters with horrendous CGI, but here, it’s quite good. It’s not Jurassic Park quality, but for a horror franchise of this budget, it’s superior to what you’d likely expect.
All in all, this is a damn good sequel. While I do feel this is the best sequel since Hellbound, don’t go thinking that this is a comparison to the first two films because it’s not. Those are different styles of stories than this. It’s a far more suspenseful, creepy, and mysterious film. It’s not so dependent on the Cenobites to drive the story forward. It has its surreal, bewildering qualities as Trevor’s own perception of reality is increasingly distorted. This is what Hellraiser: Inferno should have been, but failed greatly by detaching itself from any backstory or mythology that the series had been built on. That’s what Hellraiser is, it’s a story built on mythology as well as inner and outer conflicts. To lose the mythology and the backstory really doesn’t make it feel like Hellraiser. From the very beginning of the original Hellraiser, we’ve got mythology and history that was rich with depth. That’s what gives this series its strength. Pinhead and the rest of the Hellraiser mythos have so much that is yet to be known. There’s so much fertile ground that can still be harvested for further stories such as this one. With something as vast and as dark as Leviathan’s realm, there has to be much more that can be told about it.
While this was another original script re-written and adapted to be a Hellraiser film, I believe those writers did a solid job doing so. Tying the entire story into Kirsty was exciting and smart. Seeing her and Pinhead square off yet again was awesome, and acknowledged some substantive history with the franchise. On the DVD, there is an extended version of that scene which is very well written re-treading their back story that better explains why Pinhead sought her out. It’s only too bad that Ashley Laurence reportedly said Dimension Films only paid her enough for a single payment on a refrigerator. That stings, a lot! Regardless of that, she still put in her all for this performance, and it was a great stronger, edgier side to the character which fit perfectly into this excellent story.
This film really stands up, and it’s good that you learn things along with Trevor. You’re about as confused as he is as these bizarre, horrific, and startling events keep intruding on what he believes is reality. It’s all a puzzle that both you and Trevor discover together. It’s a film that really pays respect to the origins of the franchise, and continues on Kirsty’s story in a very intelligent way. Rick Bota proved he could be a solid director of horror with the right script. The film has a great level of grit and harden atmosphere that sets a perfect unsettling and creepy tone. Simply said, Hellraiser: Hellseeker is one to see for any Hellraiser fan!
I haven’t been a loyal follower of Tim Burton’s career, but the films I have seen from him, I very much do enjoy. Sleepy Hollow is a very pleasant entry in his career, collaborating with Johnny Depp, that strikes the right balance between Burton’s quirky humor and dramatic gothic storytelling. It’s fun, exciting, and scary all at the same time.
Constable Ichabod Crane (Johnny Depp) of the New York police arrives in the small village of Sleepy Hollow in 1799 to solve a mystery of murders. With all the victims found with their heads missing, everybody in Sleepy Hollow is talking about the ghost of the “Headless Horseman.” He is supposedly out in the woods seeking revenge for his murder many years ago. Crane, believing only in logic, refuses to believe the public’s theory about the horseman and begins his investigations, only to find his faith shattered when he himself encounters the headless horseman. Yet, he is compelled to resolve his investigation after falling deeply in love with the beautiful young Katrina (Christina Ricci). Their fates intertwine as Ichabod attempts to unravel the supernatural and wicked mysteries that threaten everyone’s lives in Sleepy Hollow. It’s a magical tale of sense against myth.
While I think general audiences today are a little worn out on the repeated Burton-Depp collaborations, Sleepy Hollow is an excellent piece of work that’s worth your while. Depp does a brilliant job as Constable Crane. He brings a certain young naivety to the ambitious investigator. He has bold new ideas about using science and intellect to deduce crimes that his superiors lightly dismiss. The contrast of everyone’s grim, fearsome attitudes to Crane’s more upbeat mentality creates an amusing dynamic. Crane is definitely intelligent and educated, but Depp’s clever, delicate balance between the serious and the tongue-in-cheek tone of Crane makes him such a delight. True to the source material, Ichabod is somewhat cowardly, but he can muster up courage when it counts. Beyond all else, he’s determined to resolve this twisting mystery that seems to have an air of conspiracy about it. That’s what makes him a character to invest yourself in. Despite his own trembling fears, he picks himself back up and pushes forward to finish what he began. Depp shows a lot of sweet charm and humor making Ichabod a pure hearted hero that both amuses and inspires.
I will absolutely admit that I once had a fascination with Christina Ricci. She’s a beautiful and highly talent actress who doesn’t shy away from challenging material. What she gives us as Katrina is a lovely, graceful young lady that is indeed bewitching. She carries an ethereal aura about her reflecting Katrina’s depth and purity of soul. Ricci and Depp have a gorgeous chemistry that really lights up the screen, and enraptures an audience with their magic. They are such an excellent fit that I’d love to see more of them together.
At the time of release, it was kept a secret that the Hessian Horseman was portrayed by Christopher Walken. It was an added pleasant surprise when I first saw the film in 1999. Aside from some animalistic grunts as he slays his victims., the Horseman has no lines of dialogue, and doesn’t need any due to how he is portrayed and presented. It was a great idea to tell the Horseman’s story early on to have the bloodthirsty psychotic face embed itself in the audience’s minds. The Horseman filed his teeth to a razor sharp point that made him appear more frightening in his enemies’ eyes. It’s an amazing, ferocious design that sends a chill up your spine, especially in conjunction with Walken’s charismatic physicality. It’s also great that the Horseman is not the ultimate villain, but a weapon used by a treacherous conspirator.
Tim Burton really culled together a magnificent cast with several veterans of stage and screen as well as some fine young talents such as Casper Van Dien. Adding in some Hammer Films alumnus like Christopher Lee and Michael Gough was a very nice touch. Miranda Richardson has a wonderful turn in this film that she seemed very enthusiastic about throwing herself into. Her overall performance is marvelous.
The visual effects of Sleepy Hollow are astonishingly good. Just getting the Headless Horseman to become a reality on screen was a big challenge, I’m sure, and there is nothing but top notch quality on display here. The various decapitations and other gory slayings are phenomenally done. What else would you expect from Industrial Light & Magic? The effects never cease to impress throughout the entire movie. The film has a generous helping of blood and gore to make some squirm or jump in their seats while others will simply relish its exquisite glory. The practical effects are seamlessly integrated with the digital effects for a visually amazing experience. I cannot praise this work highly enough. While there are some silly moments with the visual effects, they are perfectly at home in a Tim Burton movie.
The gothic aesthetics of Tim Burton are realized in a magnificent way. The film has a slightly desaturated, gritty look giving way to a more grim feeling of looming danger. Sleepy Hollow is shot beautifully, strongly maintaining that dark tone of horror and tension. Yet, there are plenty of picturesque sequences, such as a series of dreams Ichabod has which further enrich the fantastical, and sometimes, enchanting aspects of the movie. This truly is a visually gorgeous film in a style that could only come from the imagination of Tim Burton. And of course, Danny Elfman created a powerfully grandiose score that fits perfectly with Burton’s gothic stylings. It is a stunning, sweeping piece of work that enhances all the dark, lovely, and magical atmospheres of Sleepy Hollow.
This movie really is a lot of fun. Burton doesn’t take it too seriously as he applies his own dark comedy to the more violent, gruesome moments. So, while the Horseman is chasing down and chopping off the heads of hapless victims, there’s usually a humorous quirk in there, but Burton keeps it in check. He never allows it to compromise the dramatic integrity of the story, and instead sort of does it at Ichabod’s expense, which is entirely fitting. Said story has plenty of mysterious aura and thrilling moments of tense horror and suspense. The Horsemen, head or no, is very scary and intimidating. He’s mercilessly violent and very smart. There are superbly executed plot twists that are never cheap. This is a smartly crafted screenplay which weaves its way around these solidly conceived characters. The secrets and manipulations abound under the surface of this quiet village make for a fertile ground for this sort of story. How everything is unraveled in the end is quite wicked.
That said, this has a hell of a great climax with plenty of fiery action and dramatic revelations. Characters are kept in serious peril as it becomes a race to save lives while the Horseman in unleashed once again. Action and suspense build up to a highly energetic and exciting level, and the pay-off is quite ironic and fitting. It is all very satisfying tying up all the plot and character threads with that classic Tim Burton wit and charm.
This is a beautifully crafted film in every aspect. It’s a visual masterwork backed by an excellent script written by the deeply talented Andrew Kevin Walker with a story co-developed by Kevin Yagher. The latter of the two also worked on the creature effects here, and doing a remarkable job at it, too. There are many tried and true Tim Burton talents who were involved with this film which instilled it with an amazing depth of artistry and talent. The film definitely delivers on exciting tension and fearsome scares with a light air of dark, quirky humor. It also weaves an enchanting love story through its haunting and startling mystery. I really, really like Sleepy Hollow because, beyond everything else, it’s just a fun watch with plenty to take pleasure in. This is truly one of Tim Burton’s finest outings, and I’m glad that Johnny Depp was along for the ride. They both do a brilliant job through every frame of this film. I give Sleepy Hollow my full recommendation. It’s more than worth your while.
The benefit of doing Forever Horror Month is that it has forced me to watch films that have been collecting dust in my DVD collection for about a decade. I saw From Hell theatrically at the discount theatre with a number of my friends in 2001. I do recall general impressions and plot details from back then including a slight letdown of the film’s conclusion. Of course, my tastes have certainly matured since that time, and so, it will be interesting to see if my opinion of the film has altered any today.
Set in London of 1888, Jack the Ripper has been running amok in the Whitechapel district murdering and dissecting prostitutes. Scotland Yard Inspector Fred Abberline (Johnny Depp), aided by his partner, Peter Godley (Robbie Coltrane), are on the case to figure out who this serial killer is and why he is killing these women in such a brutal manner. Abberline is an opium addict and when “chasing the dragon” he is able to have visions of the future, a certain psychic ability that allows him to solve cases. As Abberline and Godley investigate the crimes, they become acquainted with the prostitutes who were friends and colleagues of the victims. Abberline begins to fall in love with Mary Kelly (Heather Graham), one of the prostitutes, or as the nobles called them “unfortunates”, being hunted down by Jack the Ripper. Abberline digs deeper and deeper into the conspiracy and attempts to solve the case before Mary Kelly is the next victim.
This was adapted from the comic book series by Alan Moore and Eddie Campbell by the Hughes Brothers – Albert & Allen. It’s not one I’ve ever read, but the comic book visual aesthetics occasionally show through. There are striking moments of heavy reds or sickly greens that are very stylized, and do work with the editing approach to those gruesome moments. The rest of the film is competently shot maintaining a natural look to the time period. The identity of Jack the Ripper is kept artistically hidden through shadows, shots from behind, and smart framing. It doesn’t get gimmicky. It plays scenes out with the Ripper with an imposing, mysterious quality that builds up the threat of him. It’s very solid work from a director of photography who started out shooting Evil Dead II and later occasionally working with surreal filmmaker David Lynch.
Now, this is a genre that kind of hits me in a pleasant place. Mixing crime drama with a suspenseful, bloody horror genre just feels like my kind of taste. The Jack the Ripper case is an iconic one in many peoples’ minds, and this film crafts the investigation and mystery very smartly. It incorporates some great forensic knowledge which further enhances the quality of Inspector Abberline’s abilities. This is very important as Jack the Ripper happens to surgically remove various organs from his victims, leaving behind a sickening and horrifying sight. While the film inevitably takes liberties with the known truth, and hypothesizes about the unknown truths, what we get is tightly and sharply crafted. It’s a very good script realized by some richly talented filmmakers.
The production design and wardrobe departments did an amazing job. They seem to have realized the late nineteenth century with beautiful detailed realism. The wardrobe is especially impressive with the distinct styles given to each character. This extends to hairstyles and the overall grooming of the actors. It’s elegant craftsmanship through and through which gives the film its grounded texture. The filmmakers took great care to reproduce the sights of the murders and the wounds inflicted upon the victims. While the film lays back on its graphicness for most of its runtime, it does have visceral impact through sharp editing styles and some impressive practical make-up effects. There is one very graphic throat cutting scene that would likely have many squirming in their seats. As the film chillingly drives towards its climax, the violence becomes immensely more graphic and disturbing.
Getting down to the performances, I believe Johnny Depp does a very fine piece of work here. I like the accent he adopts for the role. Very different from the one he used in Sleepy Hollow or as Captain Jack Sparrow. He clearly worked on the details very meticulously to bring this intelligent person to life. While, Frederick Abberline was a real life Inspector for Scotland Yard, the clairvoyance and drug use was reportedly not true about him. Regardless, the character that is Abberline here is given a good measure of charm and perceptive intelligence. Depp cautiously balances out Abberline’s assertiveness with the manner of a gentleman. While he is a man that indulges in less than respectable vices and beliefs, he is still a man that is respected in his profession. It is an impressively strong and dimensional performance. Depp leads this film excellently.
Depp also displays a subtle heart and passion opposite Heather Graham. She inhabits this particularly lower class woman with a lot of spirit and compassion. While the love between Mary and Frederick is not a major part of the story, it is developed through the building of trust and charm between them. The chemistry of Graham and Depp is solid and genuine.
Robbie Coltrane does very well as a Police Sergeant who takes his job with a lot of serious weight. Sergeant Godley is written well as both a consummate street level investigator, and a trusting confidant for Abberline. It’s a very well rounded performance that instills credibility and faith in Abberline’s unconventional methods for the audience.
The highly revered Ian Holm is also especially strong as the former surgeon Sir William Gull. He shares some solid scenes with Depp throughout the movie, and delivers a fine dramatic performance that also offers up an intimidating quality late in the film. He really portrays all facets of the role remarkably well. All around, this is just a stellar cast with a great depth of talent creating an array of fascinating and realistic characters. They all make a distinct impression upon an audience.
The affluent pretentiousness of Abberline’s superior, portrayed by Ian Richardson, strikes me funny. His assertion that no Englishman would be capable of such an act shows how much sensibilities have changed in law enforcement over the decades. Today, everyone’s a viable suspect, no matter who you are, but back in the 1880s, an educated or even sophisticated person would never be thought of as a violent criminal. It was preposterous. Furthermore, his arrogance impedes Abberline’s investigation to the point of obstructing justice. Unlike Sergeant Godley, he has little faith in Abberline’s deductive abilities. He cares only for the perception of the investigation, not the truth that it should uncover. It’s simply another fine detail which exemplifies the era this is set in, and what struggles Abberline has to surmount and combat to prove his theories correct. It sets a treacherous path that he must walk to expose this gruesome killer.
Ultimately, the Jack the Ripper plotline is resolved in a ghastly psychological manner that has a sort of fitting quality. Considering, in reality, he was never publicly, definitively identified, the ending to this has to have an air of secrecy. There’s really no way around that. So, it couldn’t have ended as a standard crime story with an arrest and conviction. Still, it lacks any sort of dramatic gratification of justice. Grisly, unspeakable murders are committed, and for an audience, it demands something equally harsh. It’s sort of a subjective feeling. If for nothing else, this conclusion just lacks a real punch.
Again, the romantic aspect is gracefully handled, but it can get a little lost amongst the main plotline. Abberline becomes deeply invested in Mary’s well being, but it’s more of an ancillary story. It comes and goes in the film never really dominating the characters’ actions too much, but it does surface every now and then when it has relevance. It possibly could’ve been developed into a fuller part of the film to have more substantive impact. The conclusion to this story is also a little downbeat. I’m not sure it was necessary for it to end as it did, but it’s definitely not a bad ending.
So, yes, I think my initial impressions about the film remain about the same. It has a very good story with plenty of suspense and intelligence, but the pay-off is quite lacking. Maybe there are those that can appreciate it more than I can, perhaps those that have read the comic book series. There was more than enough rich talent involved making this a very well made and slightly stylish horror crime mystery. The Hughes Brothers did a very high quality job with this material, and Johnny Depp puts in a very satisfying lead performance. While it’s not as quirky as some of his better known roles, this is a nice departure into more serious ground that I did enjoy. “Do I recommend From Hell?” is the pressing question. Sure. While it’s ultimately not as wholly satisfying as desired, it’s still a worthwhile watch for many reasons. If for nothing else, it’s a respectably well executed moody and chilling piece of horror cinema.
While I have only ever seen two films directed by macabre horror writer Clive Barker, he is actually one of my favorite filmmakers. Hellraiser was the first reason, but this film, Lord of Illusions, is the biggest reason. Released in 1995 in the midst of a bad stretch of time for the horror genre, Clive Barker was ambitious in telling a film noir detective horror story. Theatrically, the film was not well represented with a lot of pertinent, quality scenes cutout for a tighter runtime, and box office was not very lucrative. I cannot find a record for the film’s budget, but I’m sure it exceeded the box office gross of $13 million. Thankfully, the home video market allowed Barker the opportunity to release his definitive director’s cut of this excellent film, and I can’t imagine anyone watching this film in any other way.
New York private detective Harry D’Amour (Scott Bakula) finds himself repeatedly drawn into disturbing supernatural events, much to his strong reluctance. He takes an insurance fraud case in Los Angeles as a change of pace, but soon, he finds himself in the world between illusion and true magic. The world’s greatest illusionist Philip Swann (Kevin J. O’Connor) is killed in a graphic on-stage accident, and Harry is driven to discover the truth behind it. Hired by Swann’s gorgeous wife Dorothea (Famke Janssen), Harry delves deep into the secretive world of magic, and encounters dangerous foes including the peculiar, yet lethal Butterfield (Barry Del Sherman). What Harry uncovers is that a cult leader named Nix (Daniel von Bargen), who could perform real magic and taught Swann to do so as well, is feared to be able to defy the grave that Swann and Dorothea put him in, and will return to exact horrific revenge upon the world. What Harry D’Amour may come to realize is that death is the ultimate illusion.
The film sets a very dangerous, foreboding tone right from the outset. A series of grim images of a decrepit, desolate wasteland open the picture telling you that dark, evil forces await us. This opening sequence shows Swann and his friends confronting Nix and his followers in the Mojave Desert thirteen years prior, and sets the stage for where Harry D’Amour will enter their unsettling lives in the present day. It clues you in on exactly what horrors Nix was capable of, and why Swann and his estranged friends now fear his return so gravely. The production design of Nix’s stronghold is perfectly macabre and disturbing. It has that dead-on Clive Barker dark, gritty style with a sort of grotesque beauty. It is photographed with a generous amount of shadow using the light to accentuate only certain sections of the environment. This style carries over into all the visually darker scenes creating a gorgeous film noir style. This is just a beautifully shot movie in any condition of light or shadow. While cinematographer Ronn Schmidt doesn’t have much in the way of high profile films to his résumé, I can surely tell he had a major wealth of artistic potential when coupled with the right director.
Clive Barker magnificently proves his talent and worth as a filmmaker here. I think Lord of Illusions really is a masterpiece of supernatural noir horror. It’s a greatly intelligent film that blends two very comparable genres together in a beautiful way. The film sets up the horror elements first with that amazingly chilling opening sequence, but doesn’t really explain anything to the audience. So, as Harry D’Amour is pulled into this plot, we still have questions that need answering, and it is a dangerous path for Harry to walk to reach those answers. There are plenty of secrets that many would kill to have or to keep hidden, but Harry is an intelligent enough hero to see through the spook tactics and walls of deception to get to that truth. The moments of horror are powerful such as the flashes Harry has of the exorcism he was involved in. The sight of the stark white demon is nightmarishly striking. Dorothea also has visions of blood and death which tell her that Nix’s return is soon to come. Butterfield’s strange lackey Miller also provides much in the way of savage gore and violence. How he survives a third story fall to the pavement enhances the bizarre nature of the film’s foes. Clive Barker knew how to use film as a canvas for brilliant brush strokes. Melding so many different complex aspects of this story would not be easy to do, but he had a clear and vibrant vision which he was able to realize. Not to mention, he brought us one of his absolute best creations ever.
I really love the Harry D’Amour character as portrayed by Scott Bakula. He is endlessly fascinating to me. A hardened private investigator who gets caught up in all manner of supernatural danger is so ripe with potential. The fact that he is reluctant to be wrapped up in this world, but is inevitably drawn to it makes for a great character dynamic. He’s a man that has subscribed to many faiths in his day, possibly to attempt to find answers or solace for the evil he has faced. It shows he’s a man of a wide open mind, but not without his skepticism. True to being a detective, he accepts nothing purely on face value alone. He has a probing mind with a keen intellect that makes him an interesting hero to follow. He’s intent on unraveling a mystery in a world built upon secrets. Scott Bakula gives a warm, soulful quality to D’Amour that comes to life opposite Dorothea. He also shows Harry to be a capable and confident man of action making him a very well-rounded character. He’s smart and perceptive as well as having a good heart that contrasts the darkness he’s engulfed in. Bakula did research the role, and helped add in more traits of what Barker had previously written for the character. The tattoo on Harry’s back resulted from that research and collaboration. Scott Bakula does an excellent job with this role that I wish fortunes could’ve allowed us to be exposed to beyond this film, but nothing is ever truly impossible. One can still hope for another prime opportunity to arise for Bakula and Barker to reunite.
When Clive Barker saw the headshot of Famke Janssen during casting, he knew he had found Dorothea. Her air of class and elegance truly shines through in this role. When Harry first sees her its in the golden late afternoon sunlight, and she couldn’t be more captivatingly beautiful. She easily captures Harry’s heart, and that leads the two down a very passionate path. Bakula and Janssen have a seductive chemistry that is captured magnificently by the camera. Their love scene is gorgeous. I like the fact that Lord of Illusions came just before Famke became a villainous Bond girl in GoldenEye. Thus, it gives Barker some special credit for recognizing her talent and beauty before her breakout role. As Dorothea, she is both vulnerable and strong creating a fine mix to make her a damsel in distress, but not one that’s afraid to fight for herself when the opportunity arises.
I have to admit that I love the character of Butterfield. He’s perfectly androgynous with a slinking quality that makes him very serpent like. Barry Del Sherman uses his body language fluidly as he slipped into the skin of this peculiar villain. It’s wonderfully written as a dangerous, off-beat character that one might not take seriously at first glance. However, Butterfield quickly demonstrates a lethal, sadistic quality that he uses in calculated fashion. He truly takes deep pleasure in the torturous methods he uses, and Del Sherman absorbs himself fully into that mindset. He portrays a wonderfully charismatic and juicy villain. It’s also an interesting dynamic that Butterfield aspires to be Nix’s one and only apprentice, but even Nix acknowledges that there is no one else worthy but Swann. While Swann gets to bask in the limelight of fame, Butterfield slinks his way through the dark underbelly of the world to prepare for Nix’s return, and he gets no respect for his loyalty or hard work from Nix.
Daniel von Bargen is a hell of a diverse actor that I have gained immense respect for over the years. He can do drop down hilarious comedy, but also, put in a frighteningly charismatic performance as Nix. What he does in the first few minutes of the film resonate throughout the rest of the picture. His horrific power haunts Swann, and that fear translates over to the audience very sharply. He is an awesome villain full of commanding presence and intense malevolence. The power von Bargen throws into this role is masterful creating something that could truly haunt your nightmares in terrifying fashion. He clearly had a fun time portraying this intense, chilling character.
Another amazingly diverse actor is Kevin J. O’Connor. You may know him from his turn as the cowardly Beni from Stephen Sommers’ The Mummy, or from the Patrick Swayze television drama The Beast. As Philip Swann, he gives us a very unique performance. I like how the film opens without presenting a clear hero to you. Swann is not a confident or particularly stable person, and not the type to gravitate to as a protagonist. He is very shaken by fear, and later on in life, he’s not a content man. He has fame, wealth, and a beautiful woman at his side. However, it’s the creeping knowledge of what Nix vowed he would do, defy death, that endlessly troubles him. If he can do that, Swann cannot imagine what greater terrors he could unleash. Even with all the power Swann possesses, he knows that Nix is more powerful, but most importantly, he has the will to do things Swann never would. Nix messed with his mind once, and he’s never been able to shake that. O’Connor passionately displays the depth of those turbulent emotional and psychological elements so well. He makes Philip Swann a greatly fascinating and fractured character that maintains the foreboding tone of the film.
The supporting cast really put their all into their roles. They add to the eclectic flavor of these textured and distinct characters. Joel Swetow makes Valentin a very sophisticated but shady character. He furthers adds to the mysterious and treacherous aspects of the plot. All of the characters appearing in the Magic Castle sequence, portraying illusionists of all sorts, also really boost those spooky and colorful qualities of the film. It’s just a damn solid cast that Barker put together. There’s not a single weak link anywhere at all.
Clive Barker turned to the absolute masters of special make-up effects in KNB EFX Group for this film. Their work has been unparalleled. Whatever they do, big or small, severe or subtle, it always hold weight on film. What they did here is bring the gory and challenging imagination of Clive Barker to perfect life. The make-up on the resurrected Nix is purely, excellently disgusting, as it should be. The protrusion in his forehead is something I still cannot stomach to look at. Conversely, the digital visual effects are damn well up to standards. The early scene of Nix juggling fire is seamless and convincing, and the effect of Swann levitating a car over Harry’s head is quite well handled. Of course, I’m sure many would contend with the later scene of the apparition that attacks Harry and Dorothea late in the film, but Barker wanted it to look as it did. He did not want those effects to be dead-on realistic. He wanted a dream-like, unreal quality to them, and to a point I believe it worked. I’m sure something a little more refined could’ve benefitted the sequence better, but I generally have no criticism about it.
The film has a very strong, haunting score by Simon Boswell. It’s an excellent piece of work that regularly keeps the tension and ominous qualities present, but it also has its moments of beauty as with the Harry and Dorothea love scene. A sensual saxophone chimes in to delve into that seductive passion. The music during Swann’s stage show is marvelously theatrical. In its most climactic moments, the score is powerful and darkly operatic. Overall, it’s an immensely effective composition for a film with such diverse qualities.
Lord of Illusions has its generous share of heightened tension and frightening danger. The opening and ending sequences with Nix bring the full boar horror in all its macabre glory. In the bulk of the film, though, we have action based excitement with D’Amour, and some gory visuals that re-instill the haunting, chilling aspects of the story. This is not a splatter film with some brutal threat stalking the characters. It’s very supernatural with a more ominous threat stirring up their deepest fears. The atmosphere is very strong regularly keeping an audience on edge, and keeping them enthralled as each new layer of the mystery is pulled back. With lives being lost as he gets deeper into this and becomes more invested in Dorothea, Harry can’t just walk away. It’s a great way to wrap the hero up in the story, and drive him forward in the face of ungodly horror. Harry never gives into fear, and remains determined in even the darkest moments of the film.
The final act is powerful and amazing. It serves as the proper climax to this story which pits apprentice against master in a chilling and grotesque confrontation that still manages to keep D’Amour relevant to the outcome. It bookends the film smartly bringing Nix back in a far more chilling state than before. The disturbing cultist aspects of the movie really are driven home by this point, and have an ironic, vile pay-off here. It further sells the grave lethality and power of Nix. This entire prolonged sequence is like a slow decent into the horrific depths of hell, and there is no one better suited for the task of realizing that than Clive Barker. This ending will leave you still unsettled as the end credits roll.
If there’s one horror film that has inspired me as a screenwriter more than any other, it would be Lord of Illusions. This would be the genre I would want to play around in because Clive Barker realized it so well here. There’s a vast untapped potential for this supernatural noir genre, and this film is a prime example of that potential. Barker wrote a brilliant screenplay based on his short story The Last Illusion, and turned it into one of the best, most original and intelligent horror films I have ever seen. Thus, it is one of my favorite films of all time. This film far exceeds expectations realizing every element and aspect with amazing, top notch quality. It is only a shame that the studio difficulties Barker faced with this film caused him to turn away from ever directing another film again. Fortunately, it has not ceased him being a producer on a number of film adaptations of his written work. I think Clive Barker is one of the best masters of horror because has never let me down. If this turns out to be the final film he ever directs, no one could ask for a better final bow than Lord of Illusions.
As I have mentioned in several of my reviews here, I am an independent filmmaker. From before I even was one, I was watching ultra low or even no budget filmmakers develop their talent aspiring for the day I would become one of them. Now, as one, I truly enjoy supporting and promoting other independent filmmakers. One I have become a great fan of in recent times is Brad Jones. Some may know him as a comedic internet personality with characters like The Cinema Snob, 80’s Dan, or Kung Tai Ted, but he’s been an exploitation independent filmmaker for far longer. Being a filmmaker who has grabbed inspirations from Michael Mann works like Thief, Manhunter, Miami Vice, Heat, and Collateral, I have really enjoyed the sleazy, sordid crime stories Brad Jones has told in feature films like Midnight Heat and The Hooker With A Heart of Gold. However, in 2011 came a haunting thriller written by Brad Jones and directed by Ryan Mitchelle titled Paranoia. It’s a definite shift in tone from what Brad Jones has given his fans in the past, but in my view, it’s still just as solid and satisfying only now, with Mitchelle’s help, has the technical quality to give his work a more professional polish and sheen. The results are great!
A serial killer is terrorizing a small town. Mark Bishop (Brad Jones) has just killed an intruder (Brian Irving) that attacked him in his home. Mark’s not sure if this was the real serial killer, but on the night where his wife has finally left him, he is certain he doesn’t want the attention. Mark needs to get rid of the body and avoid the authorities, but Mark can’t shake the feeling that the real killer is still out there. As his peculiar, tiresome night unfolds, further unusual and violent circumstances impact him and the people he encounters towards unexpected ends.
As I have watched more and more of Brad’s films, I have become increasingly impressed with not only his screenwriting talents, but the strength of his acting. While most likely know him from his comedy work on his website, most of his films put him in very dramatic roles. Paranoia is probably the most straightly dramatic, yet. Mark Bishop is a very down and out man who I could feel for right from the start. His life is starting to spiral out of control, and all he wants is for one thing to go right. The film continually allows the audience to feel empathy for him as he bares his soul every so often. He’s already a rather sad guy to begin with that just falls into one bad situation after another, and one can’t help but feel sorry for Mark Bishop. Brad Jones shows a wide range of realistic emotions and inner turmoil in this role. From the fearful urgency to the contemptuous conviction to the somber and cynical to the embittered, lonely man, he gives the character a strong, sympathetic depth. He carries the film with a weight and ease.
The supporting cast is generally quite good. Brian Lewis has a very genuine, endearing charm as Officer Randy who encounters Mark Bishop early on, and later, is shown to have an affection for the waitress Claire. In that role, Jillian Zurawski gives a heartfelt and vulnerable performance. Claire is sweet, but is clearly a little on edge being all alone in this restaurant late at night with a killer on the loose. You can definitely feel for this isolated young woman who starts out trying to cheer up the tired and jaded Mark Bishop, but is subjected to more of Mark’s ill fortunes through an armed robbery gone awry. Sarah Lewis has been increasingly excellent in all of Brad Jones’ movies, and she has a solid outing here as Marissa Bishop, Mark’s wife. There’s that tired sadness and heartbreak in her performance conveying just how strained the Bishop marriage has become, and that really carries through with Mark’s emotional state after her departure. Brian Irving is fairly alright. He plays the intimidating aspects of Carl Stowers effectively, but the more humanistic scenes in the climax feel rather monotone. A little more heart and soul in the delivery of lines could’ve added a lot weight to his words. It’s not remotely a bad performance, but I feel it could’ve been pushed towards a place of more emotional depth. Considering Irving took on the role about an hour before they shot those scenes, it’s forgivable that the performance lacks some of those qualities.
I absolutely love the tone of Paranoia. It definitely feels like a late 1990s independent thriller. Considering that’s when the script was originally conceived and written that is no surprise. The first comparison that comes to mind, in terms of tone, would be David Lynch’s Lost Highway. Paranoia carries a very somber and mysterious vibe allowing every dark, isolated, and imposing element to soak deep within an audience. The high definition cinematography is handled with great competence. This looks like a very high grade feature film shot by people with the talent and tools to realize their vision. Handheld camera work is smartly and realistically done. Many big budget filmmakers like to add excessive shakiness to their handheld work, but from the independent filmmakers I’ve seen, they take a far more subtle, natural approach. That’s what we get here, but there are plenty of instances where the camera is locked down for more rock solid compositions and still moments. While no director of photography is listed in the credits, I believe director Ryan Mitchelle is to credit for all the camera work. He and gaffer Jerrid Foiles created a very solid and consistent lighting scheme for this film. Strong shadows are used throughout to great atmospheric effect. A minor thought of mine was that some of the dialogue scenes could’ve used a few master shots to get more than a single actor in frame. However, the coverage they have is quite good with different angles and focal lengths, and Mitchelle does a very fine job as the film’s editor. He keeps an even, consistent pace that allows the tone to flourish amongst the tension and suspense of the story. Some of the sound effects editing could’ve benefited from a little more volume or some reverb filters to integrate them more realistically into their environments. As an independent filmmaker myself, sound editing is probably the hardest art to craft if you don’t have professional grade tools and skills at your disposal. As the DVD commentary makes clear, Mitchelle made sure that the production audio was as top notch as possible, and the quality of it is very highly admirable and consistent. The only piece of ADR that he mentions, a scream from Claire, is exceptionally and seamlessly done.
The score for the film captures the absolute perfect mood. Michael “Skitch” Schiciano uses a very somber and mysterious mix of piano chords and synthesizers in his score. At most times, it reflects the dark, lonely, isolated feeling of the film in a man alone roaming the streets not knowing what to make of the next moment. The music is very in sync with what Mark Bishop is going through and feeling every step of the way. At times, it has an ominous, pulsating relentlessness that is very unnerving, and perfectly complements the chilling and fearful aspects of the film. You could definitely get an early John Carpenter vibe from the synthesizer part of the score, a la They Live, Prince of Darkness, or Assault on Precinct 13. Schiciano does one hell of a remarkable job, and I’m glad to know that Jones and Mitchelle continue to retain his services for their subsequent films.
Paranoia has a superb twisting and turning surrealism to it. It gradually eases you into it the same as it does Mark Bishop. It’s a slow descent into a psychologically twisted reality. To a point, you can buy into this all being in Mark’s physically and emotionally exhausted mind, but eventually, things deconstruct to where you know there’s something more at work. Both the screenplay and the film itself nicely craft these subtle elements, and allow them to discretely pile up until the flood gates break wide open. Some might call the ending a twist, but it has far more substance than most twist endings. This is essentially the whole third act of the film, and deals with the meanings and repercussions of what is truly going on. I still fully felt for Mark Bishop through to the film’s end due to the character I came to know for over ninety minutes. Again, this a testament to Brad Jones’ very realistic and emotional performance, and the quality of the script written.
Paranoia really is a style of movie that I would’ve loved to have made. It’s a very smartly written and executed film with a great atmosphere and tone that I find fascinating. Ryan Mitchelle did an excellent job with Brad Jones’ material. He is a very intelligent filmmaker who brings a high grade, respectable style to Paranoia. The films Brad Jones directs always have a gritty visual quality to them reflecting his exploitation film influences, but for this film, the sleeker style is definitely to its benefit. However, I do agree with Brad Jones that the film does play even better in black & white. The stronger noir aesthetic just seems to add to the isolated and dark atmosphere of the film, and the contrast lighting directly supports a film noir style. Brad has released an alternate “Writer’s Cut” of Paranoia for free viewing on his website which presents the film in black & white with some purposeful edits that adhere the film closer to the script he wrote. It also adds in some pop songs from the 60s and 80s which enhance the ambient, sadly emotional musical atmosphere. However, since he doesn’t own the rights or licenses to any of those songs, he cannot commercially release that cut of the film. Both versions of Paranoia are great, and have their own distinctive and excellent qualities. This is a very impressive and haunting thriller that strengthens my fandom of Brad’s filmmaking, and showcases the great talents he has surrounded himself with. I had the pleasure of meeting Brad Jones at Wizard World Chicago Comic Con 2012, and he was as interested in hearing about me as I was about him. He was the coolest, friendliest, most approachable person I’ve ever met, and it was truly a great experience hanging out with him. His light-hearted enthusiasm showed through regardless of fatigue, and I was glad to have been able to share my admiration for his work in person. I would highly recommend checking out the Writer’s Cut of Paranoia to help influence your decision whether or not to purchase the features-packed DVD from Walkaway Entertainment, as I did.