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Gone: An 'Is She Crazy, Is She Sane' Psychological Thriller
Jill (Seyfried) doesn’t have the best relationship with the police. After being kidnapped and thrown into a hole in the middle of the forest, which she luckily managed to escape from, the police refused to believe a word she said and stuck her in a mental institution. Fast forward a bit and she’s out of the loony bin, dealing with anxiety problems, carrying a gun and taking kickboxing lessons. She comes home one day from her waitressing job to find her sister gone. Convinced that the kidnapper came back for her and took Molly (Wickersham) instead, she tries to get the police to take her claims seriously, but to no avail. Left with no other choice, she takes to the streets piecing together the clues to find Molly and her kidnapper, before time runs out.
This thriller requires you to suspend your powers of logic for a while. While for the most part it tries to be more of a psychological thriller, the moments which require Jill to do some actual sleuthing are a long shot - to put it mildly. The clues she finds as to the kidnapper’s whereabouts are either absurdly simple or completely farfetched. The latter in particular are a real crime since the kidnapper keeps asserting that he kidnapped Molly to lure Jill. If his aim was truly to lure Jill, the clues he left her wouldn’t have been so discreet, random and easily overlooked.
Also, the characters are pretty shallow. The police officers are uniformly incompetent or lazy or a mixture of both. They stand around looking annoyed for the whole film. As for Jill, she’s rather strange. She fluctuates between two states: one in which she’s single-mindedly obsessed with saving her sister and the other in which she compulsively lies to everyone she meets. The first is logical and, based on her own history with the kidnapper and her relationship with Molly, highly understandable. The latter however is just plain odd. We’re never given a motive or reason for why she’s such a pathological liar and it seems rather out of character. Would somebody in her nerve-wracking situation have it in them to lie so well, or keep their numerous stories straight for that matter? We’re told that Jill stuck to her story for the entire time that she was locked up in hospital. Would somebody who wouldn’t tell a fib to get out of a mental hospital become a chronic liar?
In addition to being a liar, the film also keeps trying to push the possibility that Jill isn’t really all there in the head, though seeing as it’s Jill’s word against that of the useless police force, the idea never really registers the way it should in order to give the film a decent psychological bend and keep the viewers guessing.
Despite its inconsistencies, Gone manages to be a decent, light thriller until the ending which derails the film completely. It’s not innovative and the film is very basic despite the attempt to give it depth. However, it’s rather fast paced and Seyfried makes for a very watchable heroine, even if her character makes little sense and is unworthy of her talent.
Sinking the already-shaky horror-genre deeper into further oblivion, Ouija – based on a popular spirit-summoning board-game from the 1890’s – is, unfortunately, nothing to get excited about.
Written and directed by Stiles White – along with the penning support of Juliet Snowden – the story is centred on best friends, Laine (Cooke) and Debbie (Henning), who, ever since they were young girls, loved to indulge in a childish and seemingly harmless play using the Ouija board.
Several years later, however, Laine is shocked to learn that Debbie has killed herself and even more surprised to learn that – after visiting her home – that there is evidence of Debbie playing with the Ouija board all by herself; a big no-no in the world of spirits and magic. In order to get to resolve the mystery surrounding her death, Laine calls upon the help of her sister, Sarah (Coto), friend, Trevor, (Kagasoff) and Debbie’s boyfriend, Pete (Smith), to play with the Ouija board and summon Debbie’s spirit.
However, things turn upside down when they accidentally end up summoning an evil spirit who, unlike Debbie, wishes to spread harm upon the group. Now, Laine, who brought everyone into this mess in the first place, needs to find a way to shut the portal - between earth and the life beyond - before it’s too late.
Although the idea of turning a popular board-game into a movie doesn’t sound all that ridiculous and the material seems generally interesting, there just isn’t enough imagination or character in Ouija to make it worthwhile. Lacking depth and character, the film relies a little bit too much on the jump-scare tactic and the lack of suspense and tension only adds to its weak attempt to create a frightening horror experience.
Adding salt to the wound, the characters are just as weak thanks to the poorly-scripted material. Cooke leads the way as the only character of note and the relatively new face won’t have harmed her future prospects. The rest of the cast, unfortunately, simply don’t register and ultimately fail to convey a single genuine emotion.
Ouija is tedious, unimaginative and seemingly uninterested in elaborating and expanding on its own source material.
Written and directed by David Ayer, Fury may come across as just another WWII story that has been told many times before, but there’s more to it than it meets the eye.
Set in April of 1945, the story centres on the final days of the war, just as the Allies and their forces have pushed the Germans back into their own land for one last fight. Having just returned to base from a long, drawn-out battle, Sgt. Don ‘Wardaddy’ Collier (Pitt) and his loyal ‘Sherman’ tank crew, including Boyd Swan (LaBeouf), Grady Travis (Bernthal) and Trini ‘Gordo’ Garcia (Pena), are mourn the death of their buddy, Red.
However, they're soon presented with his replacement in the form of Norman Ellison (Lerman); a young and a naïve clerk, who’s only been in the army for eight weeks and has never set foot on a battlefield, let alone operated heavy artillery. Naturally, the Sherman boys aren’t very keen on welcoming the fresh-faced soldier onboard.
Nevertheless, they all soon head onto the battleground to fight what is left of the Nazi forces and Norman’s inexperience, naivety and general apprehension of blood and war is soon put to the ultimate test.
There are over two hundred WWII Hollywood-made movies and although the genre has produced some truly memorable films over the years, the majority have failed to add anything new.
Enter David Ayer – the director and writer behind gems such as Training Day and End of Watch – who manages, ever so subtlety, to inject the story with plenty of essence. Extremely violent and grey, Fury – told mainly from within the confinement of a military tank – is explosive and full of anger – hence the title – however, it’s more peaceful and quieter moments that speak the loudest and the harshness of war and loss is felt throughout.
The onscreen chemistry between the loyal band of brothers keeps the film interesting. Pitt offers an engaging performance as a hard-worn sergeant, while LeBeouf, Bernthal and Pena round off the impressive cast with solid performances.
Similarly, Lerman, better known for his role in The Perks of Being a Wallflower, delivers the naivety and innocence of youth that the role demanded with aplomb.
While many will consider Fury to be of little significance in the large scope of war period dramas, it's very much the case that the whole is greater than the sum of the parts. You won't see anything new here, but the film's heart and soul is largely owed to its central characters and a director who knows how to tell a story.