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Rhyme and Reason

~ Poetry Meets Film Reviews

Rhyme and Reason

Tag Archives: Thriller

Psycho (1960)

29 Wednesday Jan 2014

Posted by sgliput in Movies

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Drama, Hitchcock, Horror, Thriller

Marion Crane is in love with a man
But has not the money to wed her dear Sam.
So, after a tryst, she endeavors to scram
 
With 40K trusted to her by her boss.
She leaves town before he’s aware of the loss.
While driving, her mind starts to worry and toss.
Her guilt soon becomes an unbearable cross,
 
So she stops for the night at the old Bates Motel.
The young Norman Bates, who can scare or compel,
Checks Marion in to the lodging from hell.
They chat, and he shows her her quarters as well.
 
He tells her his mother is mentally ill.
That night, in the shower, Miss Crane’s cries are shrill
As a figure appears with a knife meant to kill.
When Norman arrives, Miss Crane’s body is still.
 
So both her and her car, Norman sinks in a lake.
Soon, Marion’s sought for her stolen loot’s sake.
Sam and Lila, her sister, think there’s a mistake;
It’s hard to believe she would lie, steal, or take,
 
So she’s being searched for by the sleuth Arbogast.
He finds the motel, where he thinks she was last,
And Norman is spooked by the questions he’s asked.
It seems that he feels he is being harassed.
 
The detective sneaks into Bates’ home, but is slain.
Then Lila and Sam, who grow close in their pain,
Go also in search of poor Marion Crane.
While Sam distracts Norman, who seems less than sane,
 
Young Lila goes into Bates’ house with aplomb.
The tension builds up like a volatile bomb.
She goes in the basement and loses her calm
When she locates the dead corpse of Norman Bates’ mom!
 
Then Bates, dressed as mother, attacks with a knife,
But, lucky for her, valiant Sam saves her life.
A doctor tells them Norman’s internal strife,
 
The death of his mother, which Norman had done,
The messed-up relationship of mom and son,
 
Caused Norman to take on her psyche and traits
And murder, believing he was Norma Bates.
But, now that he’s stopped, an asylum awaits.
___________________
 

Psycho was the new height of violence and shock value when it was released in 1960. While the “surprise” ending is almost as well-known and unsurprising as Darth Vader’s I-am-your-father revelation, this Alfred Hitchcock masterpiece is still as creepy as ever, and the shower scene still just as traumatic.

I haven’t seen many Hitchcock movies, and what I have seen (Notorious, North by Northwest) hasn’t really impressed me. Yet Psycho is not a mostly boring spy yarn but the original slasher film, which, unlike more recent examples, is restrained enough in its violence to still be watchable. Buoyed by unique camera shots that cleverly hide Norman’s schizophrenic secret and an amazingly evil performance by Anthony Perkins, Psycho manages to retain Hitchcock’s artistic touch while still delivering the horrors in which he so reveled. What is it about playing psychopathic killers that brings out the best in an actor, from Anthony Hopkins in The Silence of the Lambs to Kathy Bates in Misery? Whatever it is, Perkins is certainly the best part of the whole movie.

Best line: (Norman, while in custody at the very end) “I’ll just sit here and be quiet, just in case they do… suspect me. They’re probably watching me. Well, let them. Let them see what kind of a person I am. I’m not even going to swat that fly. I hope they are watching… they’ll see. They’ll see and they’ll know, and they’ll say, “Why, she wouldn’t even harm a fly…” (one of the best evil grins ever)

Artistry: 7
Characters/Actors: 9
Entertainment: 4
Visual Effects: N/A
Originality: 6
Watchability: 3
 
TOTAL: 29 out of 60
 

Tomorrow: #336: The Perfect Storm

© 2014 S. G. Liput

Gaslight (1944)

27 Monday Jan 2014

Posted by sgliput in Movies

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Tags

Drama, Thriller

In the foggy and dark London air,
There’s a horror at 9 Thornton Square:
A singer’s been strangled;
Her things are all tangled,
Yet all her possessions are there.
 
Her niece is one Paula Alquist,
Who is escorted out in the mist.
She is taken to dwell
And learn opera as well
With a maestro who’s glad to assist.
 
She meets Gregory, who composes.
Though a stranger, he quickly proposes,
He’s French; what’s to check?
So she says, what the heck?
She needs loving, so why oppose his.
 
By an obvious rule that’s unwritten,
One will do anything when she’s smitten.
When Greg says he would care
For a house in a square,
They choose Paula’s aunt’s home in Great Britain.
 
They lock her aunt’s things all upstairs,
So that she won’t be subject to scares
From that night long ago,
But it seems, even so,
Paula’s edgy, yet nobody cares.
 
She’s forgetful, which Greg’s quick to mention,
So often it raises her tension.
Her own husband claims
That she steals picture frames,
And his charges cause her apprehension.
 
At night, while her husband is out,
She hears somebody walking about
Upstairs; the lights fade,
And it isn’t the maid,
So her sanity now is in doubt.
 
She feels like her house is a trap.
Greg thinks that she’s ready to snap.
Paula isn’t consoled,
For Greg’s callous and cold,
And he only makes her feel like crap.
 
But one Brian, who’s from Scotland Yard,
Takes notice that Greg acts so hard.
His investigation
Leads to accusation,
And Brian becomes Paula’s guard.
 
He proves that she still has her brain
And that Greg is the cause of her strain.
His rebukes and his claims
Were a bunch of mind games,
In the hopes he would drive her insane.
 
Their marriage was only a tool,
All his tactics and being so cruel.
When the lights seemed to dim,
It was really just him,
In the attic in search of a jewel.
 
For Gregory is Sergis Bauer,
Who killed Paula’s aunt with his power.
He wanted her gems,
But he couldn’t find them
So has searched for them many an hour.
 
That night, though, he meets with success.
They were hidden, sewn onto a dress.
But he’s caught by police,
And his wife finds release
Now that he cannot cause her distress.
___________________
 

Gaslight is an old black-and-white film that earned seven Oscar nominations when it was released in 1944, winning two. A remake of a much lesser-known 1940 British movie, it is clearly based off a play with nearly every character converging at the very end. Like 12 Angry Men, most of the action happens in limited spaces, mainly a few lovely Victorian rooms, with only a couple outside scenes added to relieve the claustrophobia. In some ways, Gaslight angers me much like Mr. Smith Goes to Washington did, because Gregory gets away with his constant manipulation of his wife throughout most of the film. It isn’t until the final act that his deception is fully revealed, but, unlike the sudden happy ending of Mr. Smith, Paula is able to get back at her evil husband with some mind games of her own, creating a satisfying serves-you-right kind of ending.

Ingrid Bergman is excellent as her character’s sanity is slowly chipped away, and she definitely deserved her Oscar win. Charles Boyer is sinister, but his malevolence is a bit too obvious due to his mannerisms and coldness. Also, while the film features Angela Lansbury in her first role, I must say that her presence throughout adds little to the film and seemed unnecessary overall. Despite some flaws, such as Joseph Cotton’s lacking a British accent and a laughable scene in which the cameraman is clearly seen reflected in a window, Gaslight is nonetheless a classic mystery.

Best line: (Paula, when she taunts Gregory at the end) “How can a mad woman help her husband to escape?”

 

Artistry: 7
Characters/Actors: 7
Entertainment: 4
Visual Effects: N/A
Originality: 6
Watchability: 4
 
TOTAL: 28 out of 60
 

Tomorrow: #338: Summer Wars

© 2014 S. G. Liput

 

#340: Flightplan (2005)

26 Sunday Jan 2014

Posted by sgliput in Movies

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Thriller

Kyle Pratt is a widow, disturbed and aloof.
Poor David, her husband, just fell off a roof.
Just leaving her job as an airplane designer,
She’s bringing his body home on an airliner,
Along with young Julia, her six-year-old daughter.
When Julia strolls off, Kyle’s able to spot her,
But now she’s on edge from the worry and strain.
Both Julia and Kyle are the first on the plane.
 
Miss Pratt falls asleep with her daughter nearby,
But when she wakes up, flying high in the sky,
Her Julia is gone so she searches around,
But, alas, her young girl is nowhere to be found!
She starts getting frantic, as would any mom,
So Gene Carson, air marshal, makes her keep calm.
There’s no sign that Julia was ever on board,
Nobody remembers her; Miss Pratt is floored.
 
They say Julia died with her father as well,
That he took her with him when he somehow “fell.”
Kyle’s panicked conduct and the loss that she’s had
Make the crew and the passengers think she’s gone mad.
Miss Pratt starts to doubt her own sanity too,
But evidence shows her story is true.
She takes drastic action to search the ship’s hold,
But she’s caught, and it’s clear she cannot be controlled.
 
They soon land, but Carson persuades Captain Rich
That Miss Pratt’s a bomber with hand on the switch.
He says she wants money, which Rich wires in.
Thus Carson’s the bad guy and always had been.
He kidnapped poor Julia amid all those folks
And a stewardess helped him to pull off the hoax.
When the whole plane is emptied, they play cat and mouse,
And Carson admits that he killed Kyle’s spouse.
 
Miss Pratt knows the plane, all the rooms, electronics,
And at last locates Julia, drugged, in Avionics.
She hides in a hatch, having gotten the trigger,
And blows Carson up (the blast could have been bigger).
With Julia again, she has proof that she’s sane
And innocent too, though she did wreck the plane.
Thus, Julia and Kyle will no longer fly:
They now prefer driving instead (wonder why).
___________________
 

Flightplan, while not Jodie Foster’s most successful movie, has a great performance from her as a grieving mother who questions her own sanity. As the director stated was his intention, the movie starts slow and gets increasingly intense as Kyle’s panic rises and the villain is revealed. The initial secrecy surrounding the villain is also done quite well with several people potentially in on it, from seemingly unsympathetic stewardesses to Arab passengers all being suspected and eventually vindicated. Peter Sarsgaard is also cool and calculating as Carson, whose apparent nonchalance at first evolves into devious cunning.

I will admit that, though all the elements of Carson’s ingenious plot are basically explained, it seems that he went through quite a lot of trouble to pull off his scheme. I can’t help but think there was an easier way than killing a man, hiding a bomb in his coffin, stealing a little girl, framing an anxious mother as a terrorist, and somehow getting away with the $50 million. Also, there was some profanity, though significantly less than that other Jodie Foster movie Panic Room.

Overall, Flightplan is a taut thriller that embodies that primal fear of losing one’s child and indicts the selfish tunnel vision that the passengers displayed in not noticing Julia.

Best line: (a kid to her parent, after Julia is found) “I told you there was a little girl.”

 
Artistry: 5
Characters/Actors: 6
Entertainment: 6
Visual Effects: 4
Originality: 5
Watchability: 5
Other (language): -3
 
TOTAL: 28 out of 60
 

Tomorrow: #339: Gaslight (another movie with a woman doubting her sanity)

© 2014 S. G. Liput

Entrapment (1999)

21 Tuesday Jan 2014

Posted by sgliput in Movies

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Tags

Romance, Thriller

A thief steals a painting, a priceless Rembrandt,
They climb through a window but jostle a plant.
The method they use is not lost on Gin Baker,
Who thinks “Mac” MacDougal must be the art’s taker.
This Gin works for Waverly Insurance, who
Lets Baker go find Mac to prove if it’s true.
 
She goes undercover and says she’s a thief,
But Mac isn’t prone to undoubting belief.
A pro past his prime, he is nonetheless drawn
By her plan for a theft that she wants him in on.
It may be entrapment, but Mac blackmails Gin,
And takes her to Scotland where they can begin.
 
They train for the heist of a gold Chinese mask.
It’s priceless; they don’t tell its worth so don’t ask.
And, as it’s clear nobody trusts anybody,
The facts of who’s crooked and straight become muddy.
They pilfer the mask with a smart strategy,
Contorting through lasers to leave a monkey.
 
Mac knows Gin’s a traitor and practically drowns her,
But Gin gives an offer while she starts to flounder,
A heist she’s been planning for years (what a kidder!),
And eight billion dollars makes Mac reconsider.
They go to Malaysia, which Gin rather likes;
The world’s tallest building is where they will strike.
 
Millennial eve, while the world is distracted,
Their masterful plan is discreetly enacted.
By fooling a clock, they succeed in their crime
To transfer eight billion, in just enough time.
But then one mistake takes their plan out of shape;
They go to great heights to attempt to escape.
 
Yet only Gin makes it, while Mac stays behind.
The next day, the FBI knows where to find
The wanted Gin Baker. Turns out I was wrong.
Mac was helping them catch her, the thief all along.
Yet Mac helps her flee; then she quickly comes back.
She has plans for a heist, and, for that, she needs Mac.
________________________
 

I am not a big fan of caper films, simply because I don’t care for filmmakers getting viewers to root for a criminal to succeed. I have that same reservation for Entrapment, but I can overlook it mainly due to the two leads. Catherine Zeta-Jones is attractive (to say the least) as Gin Baker, and Sean Connery is as good as ever as Mac, the aging thief who’s always one step ahead; together, they’re thick as thieves. With gadgets that would make James Bond envious, the two somewhat succeed in their heist (with only one billion dollars), but at least the rest of their loot is returned by the end. It helps that, until the end, at least one of the main characters seems to be working to bring down criminal activity.

The movie also gives a look at the intricate planning and training that goes into the perfectly timed burglaries our anti-heroes commit. While the almost titillating laser scenes, both training and the real thing, earned infamy among critics, they are fascinating to watch for the meticulous choreography, not just Zeta-Jones’ curvaceous figure. Also, though there are several potentially compromising situations, I appreciate that the two leads are never shown sleeping together, as in every other remotely romantic film.

The vertigo-inducing finale still keeps me and my VC on the edge of our seats, and the end is satisfying, if morally problematic. It’s a fine line that these films walk, making criminals likable to the point one wants them to prevail, but Entrapment does it well enough to warrant getting on the list.

Best line: (from Mac’s FBI contact) “Well, Mac, this looks like the end of a terrible friendship.”

VC’s best line: “Don’t use a cannon to kill a mosquito.”

 
Artistry: 5
Characters/Actors: 6
Entertainment: 6
Visual Effects: 5
Originality: 6
Watchability: 5
Other (“heroes” are criminals): -5
 
TOTAL: 28 out of 60
 

Tomorrow: #344: Working Girl

© 2014 S. G. Liput

Prometheus (2012)

18 Saturday Jan 2014

Posted by sgliput in Movies

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Tags

Sci-fi, Thriller

An alien humanoid visits the Earth
And drinks a dark liquid that helps to give birth
To the whole human race, by inducing decay
Of the alien’s body, to spread DNA.
 
In the future, some scientists find common bonds
In ancient cave paintings; a star corresponds,
So Elizabeth Shaw and Holloway too
Think their creators are out there. (Do you?)
So they tell Peter Weyland, a dying patrician,
Who sends them and others on this expedition.
 
They fly for two years to the farthest of places
Till David, an android, awakes them from stasis.
Their ship, the Prometheus, lands on a moon,
And Holloway’s eager to find something soon.
Thinking they’ve found their progenitors’ home,
They enter a hollow, gargantuan dome.
They find some black urns, but not what they seek,
So David takes one, and the rest start to leak.
They do bag a guillotined alien head,
But a storm sends them back to their vessel instead.
 
Two redshirts are left and don’t live through the night,
For that liquid spawns something that gives us a fright.
Meanwhile, poor Holloway’s given a drink
That David has spiked with that dangerous ink.
He’s sick by next morning, and things go awry
When Holloway says that he’d much rather die.
But Shaw was impregnated by him last night
And has a machine cut her open (that’s right!)
And take out an odious, squid-like offspring.
She then locks the door to trap the gross thing.
 
Shaw finds out that Weyland is onboard, and why?
He hopes that his makers can help him not die.
They visit an alien Dave found asleep.
Dave tries to communicate, but talk is cheap.
The alien kills all but Shaw and prepares
To take off for Earth. Though our DNA’s theirs,
These Engineers somehow decided to spread
This liquid to Earth to kill us instead.
The alien tries to fulfill now that mission,
But Prometheus’ captain won’t give him permission.
The two ships collide, leaving Shaw the last here,
For she sics her own offspring on that Engineer.
With poor David’s head, she takes some other ship
To find further answers on some other trip.
__________________
 

I was originally not going to have Prometheus on my list because of the language, some very disturbing scenes, and quite a few unanswered questions. Yet Prometheus is the kind of film that keeps one thinking, and, after much consideration, I think I at least have some good theories to satisfy that last point.

I think the black liquid is a powerful mutagen, which is much more severe when ingested. That seems to answer questions like “Where did that snake thing come from?” (from the worms that were exposed to the fluid), “What happened to Holloway and Fifield?” (Holloway was experiencing a slower version of what happened to the alien at the beginning, and Fifield, who did not ingest it, was simply going berserk), and “What happened to the Engineers?” (I tend to think there was a leak, and they killed themselves in the same way Holloway preferred to die. The fact that the head, when reactivated, started breaking down seems to back up this theory.) The fact that the Engineer did not end up in the chair where one was found in Alien tells me that the crew of the Nostromo must have landed on a different planet, perhaps to be visited and set up appropriately in Prometheus 2. Someone else might have very well figured all this out already, but my coming to my own conclusions allowed me to better appreciate the film, though there are still a few unanswered questions about David’s motivations and such. The film left my VC a bit confused at first, but, upon a second viewing, she better understood and liked the film.

The outstanding special effects are light-years ahead of the original Alien, and, though Prometheus takes some cues from its predecessor/sequel, such as ending with a countdown and killing off nearly everyone, it also is able to stand alone, as director Ridley Scott wanted all along.

As a Christian, I don’t believe for a second that aliens created mankind, but this assertion in the film is tempered by Shaw’s unconvincing but sincere faith and her pointing out that someone must have made the Engineers. I find the gruesome, abortion-like surgery scene to be messed up on way too many levels, and Peter Weyland’s death scene seemed very abrupt considering everything before it, but the rest of the film mostly makes up for its faults.

Best line: The aforementioned quote questioning, “Okay, who made the Engineers then?”

 
Artistry: 7
Characters/Actors: 6
Entertainment: 5
Visual Effects: 10
Originality: 6
Watchability: 5
Other (violence, especially surgery scene): -7
Other (confusing elements): -4
 
TOTAL: 28 out of 60
 

Tomorrow: #347: Despicable Me

© 2014 S. G. Liput

Witness (1985)

15 Wednesday Jan 2014

Posted by sgliput in Movies

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Romance, Thriller

A small Amish lad by the name of Sam Lapp,
Whose father just died, walks right into a trap
When he visits the city, a vast place of gloom,
And witnesses murder while in the restroom.
He gets out unnoticed, and he and his mom
Meet an Officer Book, who insists they stay calm.
He wants Sam to identify who did the crime:
He finds out it’s a cop named McFee in no time.
 
When Book tells his boss Schaeffer of a drug scheme
McFee is behind, things are not what they seem.
Book is ambushed and wounded while toting some suits
And realizes Schaeffer must be in cahoots.
He takes Sam and Rachel (the mom), and they drive
To Amish farm country to keep them alive.
But Book, who was shot, is too injured to leave
So the Lapps take him in, though they’re shy to receive
This English outsider who carries a gun,
But they help him recover, which stuns everyone.
 
He slowly adapts to this rural lifestyle,
Though he calculates what next to do all the while.
He learns to wake up at 4:30 to milk,
He helps with barn raising and things of that ilk.
He grows close to Sam but to Rachel much closer,
And does she resist his romantic charm? No, sir.
She tries at first, yes, but the choice is quite hard.
Should she stay with the Amish or leave with her guard?
 
At last, Schaeffer finds them and storms the farmhouse.
Both Book and the bad guys then play cat-and-mouse.
He drowns one attacker in a silo of corn
And shoots McFee too, but then Schaeffer warns
That he has Rachel hostage. Though he threatens to end her,
Book triumphs by guilting the cop to surrender.
In the end, there is sadness and breaking of hearts
Because Rachel won’t leave, watching as Book departs.
__________________
 

Witness is a beautifully filmed love story that manages to mix excitement, romance, and a realistic fish-out-of-water tale into a movie that was obviously meant to garner multiple Oscar nominations (which it did, including Harrison Ford’s only Best Actor nomination for the role of John Book). It also made my mother hesitant to let me go alone to a public restroom when I was young.

My family briefly considered joining the Amish several years ago, and, while we decided their lifestyle is not for us, I have the deepest respect for their way of life. Witness does a good job of presenting the Amish lifestyle in a way that makes it seem quaint but not backwards, simply different from ours. The cinematography and direction are lovely, particularly the barn-raising scene midway through, and help to make up for a few boring moments.

As with Inkheart, though, the end just isn’t very satisfying, mainly because it muddles the film’s message. Either Rachel should have left the Amish to go with Book, showing that love can overcome any barrier, or she should have remained faithful to her beliefs, showing faith and normalcy were more important to her than a sinful relationship. But allowing Rachel to act on her temptations (we can assume from the passionate kissing scene in the field), but not enough to go all the way and leave, just messes it up. It may be “realistic” in not having such a question be black or white, but the way it is done makes it seem that she took a bite of cake and will now live in denial of ever wanting to have the rest. But that’s just me. The nude scene and the frequent (though comparatively restrained) language also take away from the film’s entertainment and moral value.

Best line: (a tourist, after Book says something very un-Amish to her) “Did you hear what that A-mish said to me?”

 
Artistry: 7
Characters/Actors: 7
Entertainment: 5
Visual Effects: 4
Originality: 5
Watchability: 4
Other (nudity and language): -5
 
TOTAL: 27 out of 60
 

Tomorrow: #350: 12 Angry Men

© 2014 S. G. Liput

Panic Room (2002)

08 Wednesday Jan 2014

Posted by sgliput in Movies

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Thriller

Meg Altman, a divorcee, and daughter Sarah too
Are looking for apartments, and they go to see a few.
One spacious, multi-level dwelling catches their attention;
It has a hidden panic room for robbery prevention.
They stake their claim and move right in, but, on their premier night,
Three robbers, who don’t know they’re there, give Meg an awful fright.
She gets her daughter in the room, and, locked within its walls,
They watch on some surveillance screens the house’s rooms and halls.
The thieves attempt to break inside and fail, but do not leave.
It seems the panic room holds cash they came there to retrieve.
They try to gas the owners out; that plan comes down in flames.
(Before I go on anymore, I ought to give their names.)
The “mastermind” behind the crime is Junior, who lets out
There may be more to steal than he had told his pals about.
He tries to leave, but then Raoul, a psycho in a mask,
Shoots him dead and tells the other to get back to his task.
This Burnham, who installs these rooms, is just a desperate guy,
Who finds he’s in over his head but is forced to still comply.
When Meg’s ex-husband, whom she called before the line went dead,
Shows up, he’s taken prisoner and pummeled in the head.
When diabetic Sarah needs a shot of glucagon,
Meg tries to go retrieve it when she thinks the thieves are gone.
But that is when they sneak inside and now lock Meg without,
So she locks door, preparing only one departure route.
Once Burnham kindly gives the shot to Sarah, who responds,
He locates several million dollars’ worth of bearer bonds.
Raoul and he attempt to flee the home when Meg attacks,
But bad Raoul fights back and almost kills her in her tracks.
It’s Burnham, though, that saves them when he sees they won’t prevail.
That’s when police arrive and take the remaining thief to jail.
So in the end, the bonds are lost to both good and bad guy,
And Meg and Sarah seek another home (I wonder why).
________________
 

Since Panic Room is the first R-rated film on this list, I feel I must point out that I abhor foul language. I mention this because, in addition to several other profanities, there are about 70 F-bombs in Panic Room, every single one of which was totally unnecessary. As a Christian, profanity bothers me personally as an affront to God, but, as a film lover, I also think it cheapens the film as a whole, showing a lack of imagination on the part of the writers since they can’t think of anything better to say than F this and F that. All it does is alienate a potential audience (young people and people like me) and distract from what is otherwise an excellent film.

The plot is suspenseful throughout, especially whenever Meg ventures out of the panic room, but, what could easily have been a simply told tale of three robbers sitting outside a room trying to think of a way inside is given surprising depth, mainly from Forest Whitaker as Burnham, who never wanted anyone to get hurt. As the most sympathetic of the thieves (and in the end, the “hero”), he makes the audience sad that a guy just trying to take care of his kids made such poor choices. The other two get what’s coming to them as the real antagonists.

The cinematography and direction are superb with long computer-generated camera shots sweeping through walls and impossibly small spaces, creating a feeling analogous to the house, spacious yet simultaneously claustrophobic. Several parts are fascinating to watch, from the elevator scene when Meg initially tries to escape with Sarah, to the propane scene where the camera follows the ventilation shaft to the panic room. The characters are entirely believable as well, with Jodie Foster as a distressed but resourceful mother and Kristin Stewart proving she was a better actor before she grew up. Forest Whitaker is nevertheless the best thespian of the bunch.

All that said, it is not without flaws. Watching it, my VC and I couldn’t help but wonder why two people needed such a big “townstone” in the first place. Plus, the police rushing in at the last minute was poorly convenient with little explanation as to why they suddenly returned with a SWAT team. I also thought that it could have ended on a better note, perhaps with Meg thanking Burnham and Burnham apologizing. Still, despite the violence and language, it’s an excellent thriller. I first saw a cut version on TV, and I would suggest others see it that way. It’s much more entertaining without the foul mouths.

Best line: (Meg to Sarah) “It’s disgusting how much I love you.”
 
Artistry: 7
Characters/Actors: 6
Entertainment: 6
Visual Effects: 6
Originality: 4
Watchability: 5
Other (Language): -7
 
TOTAL: 27 out of 60
 

Tomorrow – #357: Mr. Smith Goes to Washington

© 2014 S. G. Liput

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