The plot: An ordinary day at the park becomes a living
nightmare when Karla (Halle Berry)’s son Frankie (Sage Correa) is snatched from
the playground. With no-one else seeing what happened, and attempts to contact
the police proving unfruitful, Karla takes it upon herself to get her child
back by any means necessary. The chase is on.
Berry has to carry a lot of this film with just her
performance, and quite honestly, she manages to do just that. Her flustered
ramblings as she articulates what is going on and what she needs to do really
helps sell the stress her character is going through, and the fact that she
plays the role less like an action hero and more as a genuine mother helps it
ring true. Lew Temple and Christopher Berry as two of the kidnappers work out
fine, although they are rather interchangeable and I didn’t even realise that
they were different people until looking up the film’s cast list for the
rundown, but it’s Chris McGinn as Margo that stands out head and shoulders above
them. In fact, she might even give Berry a run for her money. Given how plainly
her character is written, her being to get across this level of command during
the hostage situation and even a few quieter moments where she lets her
emotions speak for themselves is quite astounding. Then again, she isn’t the
only one here able to make something worthwhile out of not-so-good material.
This is an extremely taut thriller in its construction,
rarely breaking from the main action so that everything we’re seeing is almost
in real time. That direct connection to the action and sense of immediate
threat makes for a rather gripping sit, as every action and decision feels like
it has immediate results and so all of them have to be taken carefully. My
long-established fickleness with action set pieces involving cars
notwithstanding, director Luis Prieto and cinematographer Flavio Martinez
Labiano give a lot of oomph to the extended chase sequences here. All the
weaving in and out of traffic, that stab-in-the-heart realisation when someone
makes a sudden turn off the road; it’s incredibly visceral and it manages to
carry the film through its very direct narrative structure. This is where
Berry’s performance shows itself for the vital ingredient it is, as without
this kind of charisma in the literal driver’s seat, these scenes could have
fallen by the wayside. Thankfully, because Berry gets across that feeling of
continual dread and kicking her fight-or-flight instincts into gear, these
scenes work.
However, this is all to do with presentation. The visuals,
the pacing, the acting; that’s the gloss coating the core of this film, which
is the writing. And man, is this a film that pretty much requires you to ignore
the text. Thrillers of this nature, ones about seemingly ordinary people
needing to tap into some unknown inner strength to save a loved one, have a lot
of inherent problems in their construction. For a start, in order for the
vigilante angle to take hold, there needs to be a convenient reason why no one
else, from civilian onlookers to the police, is able to help. Unfortunately,
rather than write around this issue, the film just presents that issue without
even addressing it. All through those long car chases, which feature much
speeding and throwing of golf clubs, not once do we see any of the other
drivers even acknowledge that something is going on. Unless madcap rampages on
the highway are some kind of norm in the U.S., I highly doubt that any of this
is real. Same goes for the inclusion of the police, which could have gone into
far more compelling territory but just ends up hitting the brick wall of
“there’s so many missing children, there’s no way that they will find them, I
have to do this myself”. Given how Karla ends up calling the police numerous
times during the course of the film, this attitude feels less like
justification and more a showing of laziness on the part of the screenwriter.
And yet that isn’t even the biggest stretch in terms of dumb
writing. Instead, that’s down to essentially everything Karla ends up doing in
this barely-over-80-minute film. While starting off okay, even if the scene of
her at her day job is hardly riveting, her lapses quickly start up right around
the point that the film’s main action begins. Throughout the film, she keeps
making these incredibly simple mistakes that, if the film wasn’t written so
that she would end up surviving everything, would have resulted in her failing
to find her son.
I’ll give a specific example. When she first tracks down the
kidnappers, Margo asks for Karla to unlock her car so she can get in and they
can drive to the bank to give her some money in exchange for the child. Karla
agrees, and as soon as they hit a tunnel, Margo tries to kill her. Watching
this unfold in real time, I wasn’t at the edge of my seat as much as I was
wildly shouting “What in the hell did you think was going to happen?” Karla’s
erratic monologuing in the car is likely meant to impart that she herself is
erratic and forcing herself to think clearly in the middle of a stressful
situation, which might go on to explain away stuff like this. But that’s not
the case. Instead, it just comes across like she is inordinately lucky,
narrative magic that exists just to make sure the story keeps going. This ends
up reaching an absolute nadir by the end, where it is revealed that Karla’s
action in taking down only a few kidnappers resulted in *spoilers* the entire child abduction ring getting shut down with
ensuing arrests. Wow. So much for giving her credit for not being an all-out
action hero.
All in all, this is a very tense thriller that pretty much
requires the audience not to think too much about the specifics. While the
acting is very solid, the direction squeezes the thrills out of the situation
and the pacing keeps things from getting too monotonous, Knate Gwaltney’s
writing in this is really damn stupid. The characters are flat, with only the
individual performances giving them a sense of life, the contrivances needed to
keep the plot chugging along are rather obvious as such, and our main character
only manages to survive all of this because the gods of plot convenience
decreed that she must with how many basic errors she makes. I didn’t intend for
this but this makes a weird double-feature with Little Evil: That film was a
bit painful to watch unfold, but became more appealing as it sank in after the
credits, whereas this film is engaging in the moment but loses its efficacy
upon reflection. If you don’t mind zoning out a bit while watching something,
I’d say check it out, but make no mistake: This is still a less-than-adequate
production.
No comments:
Post a Comment