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.
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.
Right behind Michael Mann, John Carpenter is my favorite filmmaker of all time. The diverse range of films he has given the world are entirely unique and wildly entertaining. In 1982, he ventured to pay homage to one of his favorite filmmakers, Howard Hawkes, by helming a re-adaptation of the John W. Campbell, Jr. short story “Who Goes There?” Hawkes had done so previously in 1951 with The Thing From Another World. What Carpenter gave us is what I consider the best film he’s ever made. A grippingly effective science fiction horror film with an amazing atmosphere of slow building paranoia and sickening alien gore. John Carpenter’s The Thing became a classic of the genre due not only to a solid ensemble cast, but an elite crew that make this such a fantastic film that continues to hold up thirty years later.
In the winter of 1982, a twelve-man research team at a remote Antarctic United States research station discover an alien life form that was buried in the snow and ice for over 100,000 years. They soon realize that not only is it still alive after a deep freeze burial and a fiery defeat by a Norwegian camp, but that it has the ability to imitate any living thing to exact detail. Before they know it, the alien organism has infiltrated their camp, posing as any number of these men. Paranoia and distrust runs amuck in this isolated compound as no one knows who is human, and who is The Thing.
Time always seems to be the best judge of quality. Upon its release, The Thing did poorly. This was because 1982 was the summer of Steven Spielberg’s E.T.: the Extra-Terrestrial, and many dark science fiction films did badly in the shadow of that wondrous, fantastical film. Blade Runner, which opened the same weekend as The Thing, also suffered at the box office because of this. However, since then, The Thing and Blade Runner have become two of the most revered films of the genre garnering massive praise, and are recognized among the best works from directors John Carpenter and Ridley Scott, respectively. They are both amazing films in different ways, but have both influenced the genre immensely.
Beyond anything, what stands out the most in this film are Rob Bottin’s amazing creature effects. What he achieves puts him on the same level with the absolute best in the business. Effects master Stan Winston also lent a helping hand in a sequence or two, but Bottin is the main man responsible for the richly disgusting slimy alien gore and mind blowing physical creations here. The detail he put into his work to create such twisted and purely alien designs remain as impactful and effective today as they were in 1982. That’s the work of a master, and it lead to him working on blockbusters such as RoboCop, Total Recall, Se7en, Mission: Impossible, and Fight Club. It is a massive loss to the industry that he has been absent from it since 2002. Bottin was a fascinating personality with a wild artistic mind that was ripe with brilliance. This film is eternal testament to his talents.
Speaking of which, John Carpenter’s pure horror talents have never been more taut or focused than in this film. It’s the perfect blending of paranoia, creepiness, gory horror, tension, and suspense. Nobody does it like John Carpenter, and only from his expert direction could this film have become as timeless and consistently effective as it has become. Also from him comes a perfectly selected cast fronted by Kurt Russell as R.J. MacReady – the cool and rational mind, the level-headed one of the bunch. Also featured in this ensemble are Keith David, A. Wilford Brimley, Thomas Waites, Richard Dysart, Richard Masur, David Clennon, Charles Hallahan, Peter Maloney, T.K. Carter, and Donald Moffat. They all inhabit their characters so distinctly and vibrantly. Each man has their own look, and aren’t easy to mistake one for another. Their personalities and characteristics set them all apart very nicely, and all of the cast grasped onto the growing paranoia excellently. A beardless Brimley brings forth a fantastic performance as well as Blair flips out partway through the movie tearing apart the communications center. He plays crazy to immensely entertaining effect. Later, he is truly unsettling leading into the film’s climax. Keith David is constantly entertaining as the gung ho, take-no-crap from anyone Childs. However, Russell clearly remains the most central protagonist of the film bringing stability to the chaos, and handling all the various dimensions of MacReady awesomely.
The script written by Bill Lancaster is wonderfully constructed. Sadly, Mr. Lancaster passed away in 1997 due to a cardiac arrest, and was not able to contribute his thoughts to Universal’s amazing Collector’s Edition DVD. The Thing was the last piece of cinema Lancaster was directly involved with, and at least he could say that he bowed out of filmmaking on a seriously high note. This happens to be a pure classic in the genre of science fiction & horror. The dialogue is always great, never ever cheesy or cliché. There are bits of humor, but nothing that works against the tone of the film or the scene. Any director would be privileged to work with a script this well-conceived.
The cinematography is an absolute pleasure here, and that is forever to be expected from Academy Award winning director of photography Dean Cundey. In the opening minutes of the film, we are given stunning shots of the immense arctic landscape that clearly establish how isolated our characters are. The photography can even prove to be terribly creepy at times such as the storage room scene after MacReady breaks into the compound. Kurt Russell looks ghostly with the brilliant blue lighting upon his snow covered self. Cinematography in a Carpenter film has always been a strong point, and you cannot deny its strength here. It helps evoke the proper emotions at the right times by capturing atmosphere in its compositions and lighting. Another such element is Ennio Morricone’s score. Right from the get go, it sets the tone for the entire film. It grips you and never lets go. This score is haunting, relentless, brooding, and terribly chilling. This is such a powerful score, and despite that Carpenter did not compose it, it does have many elements of his own scores in it. Morricone had scored many “spaghetti” westerns including The Good, The Bad, & The Ugly, and we would later score The Untouchables. To this day, Morricone continues to score many films, mostly Italian ones.
What makes this film so effective is due to the psychological aspect of the story. The paranoia slowly develops in the company of these men while trust diminishes. These characters are nicely setup from the start establishing their relationships and personalities so vividly that later you see how seamlessly the alien has infiltrated their ranks. No one acts any differently, and it is surprising how complete the disguise is. Under a human guise, the Thing turns down the chance to take over as the leader of the group. The life form is not looking to be obvious. It has no ego, and is possibly doing this out of fear for its own survival. It wants to hide, be subversive so that it can keep doing what it does without suspicion. Using covert methods, it can slowly take over the entire camp until it is in total control. However, when threatened, it is a brilliant idea that each part of it is an individual whole that will fight for its own survival. This makes it just that much harder to definitively defeat as even one molecule’s survival can be disastrous, in time. Mixed in with the diverse and dimensional performances, every aspect of paranoia and fear that this film deserved is greatly fleshed out and realized here.
When taking in all of this excellence, one can’t help but realize they are watching a classic piece of science fiction / horror cinema with John Carpenter’s The Thing. From Carpenter’s expert direction, Bottin’s masterful effects work, the stellar production values, the power of Morricone’s score, the amazing cinematography, and certainly the stellar acting talents of this whole ensemble cast you will get a perfect film. The atmosphere in this motion picture is something that many filmmakers fail to inject into their own films. My interest in horror films has waned in past several years. First, it was the torture porn trend, and now, I just don’t see much of anything out there with this level of atmosphere and craftsmanship. John Carpenter’s masterpiece gets a perfect, solid rating from me – 10 out of 10. I did see the 2011 prequel, and while it excelled in the horror and atmospheric areas, it didn’t have the memorable characters or amazing creature effects that set Carpenter’s film apart from the competition. You surely can’t perfectly imitate a masterpiece.