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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.
As far as buddy-comedies go, you can do a lot worse than Etan Cohen’s – not to be confused with the other Ethan of ‘Ethan & Joel Coen’ – partially entertaining and exceptionally raunchy Get Hard. Written by the director himself – along with the help of Jay Martel and Ian Roberts – the latest Ferrell & Hart coalition is promising of a few laughs, but, it’s definitely not for everyone.
The story is centered on a cheerfully unconcerned multimillionaire trader, James King (Ferrell) who is unexpectedly arrested for the suspicion of fraud and embezzlement. Outraged and willing to fight for his innocence, James soon finds out that his ‘type of people’ – you know the white-collar ones – are no longer protected by the judicial system and he is soon sentenced to ten years in a maximum security prison.
Scared and worried at what awaits him, James – who has been given thirty days to get his affairs in order - soon comes across Darnell Lewis (Hart); a straight and hard-working African-American who runs the car-cleaning service in the garage of James’ firm. Determined to get as much help as he can get, James turns to the only man he believes knows a thing or two about prison. However, what he doesn’t know is that Darnell – who is more than happy to accept the thirty-thousand-dollars payment – is just as naïve about life in prison as he is.
Get Hard is not original nor is it exceptionally funny. Its lack of creativity shows and its love for conventionality is at times a little hard to bear. However, in the midst of all the vulgarity it so shamelessly finds itself in – the prison-rape jokes as well as sexual assault humor is a little on the excessive side but plenty funny if you allow it to be - there is still enough room for laughter. The jokes – which involve a lot of ‘back-door’ talk and other seemingly offensive behavior which some viewers might find a little hard to sit-through – don’t always land where they’re supposed to but, when they do, the results are rewarding.
The one thing that keeps the movie from falling completely flat on its face is the genuine chemistry between the two leads who have managed to pour in some of their best work into the mix. Ferrell is well, Ferrell and his oblivious and not-as-annoying-as-you-may-think man-child works well against Hart’s snappiness and fast-moving energy and the duo, although, not the most easy-to-love characters, succeed in delivering the laughs.
It’s stupid, funny and rude. It works, almost.
Aimed primarily at young teens – or anyone else who thinks that watching Mean Girls is the next best thing since sliced bread - Kyle Newman’s latest entry comes in the form of an inexpertly created and awkwardly told teen-spy-high-school-comedy-drama, who’s painfully characterless and senseless ways are probably better off left unviewed.
Working from a script written by John D’Arco - previous writing experience includes a relatively successful romantic short story titled, A Grocery Story – Barely Lethal is centred on Megan Walsh (Steinfeld); a talented teenage special ops agent who was raised and trained in a special spy school for orphans called PRESCOTT. Taught and brought up by the devoted and no-nonsense trainer, Hardman (Jackson), Megan – along with her fellow orphans - including Heather (played by the Game of Thrones’ Sophie Turner), never really knew life outside the agency so, she spends most of her days dreaming of what it would be like to leave her current life behind and be a normal sixteen-year old American girl.
Luckily, she soon gets the chance to do just that and when a mission goes wrong and she is marked as MIA; seizing the opportunity, she quickly fakes her own death and enrols herself in high school as an exchange student. However, it turns out that life as a spy-assassin is a lot less complicated than a high-school kid, especially when a viral video exposes Megan to her arch-enemy - ruthless assassin Victoria Knox (Alba) - who is determined to wipe her out for good.
With a cast that includes the likes of Samuel L. Jackson, Jaime King, Jessica Alba and least but not least, Hailee Steinfeld – the talented actress who was nominated for an Oscar for her biting performance in 2010’s True Grit – it would only be natural for one to expect more from the proceedings. Unfortunately, Newman’s inexperience shows as Barely Lethal – a movie that tries to combine the teenage-spy genre with the appeal of a superficial high-school comedy– doesn’t seem to know how to get the best of both worlds, resulting in one disjointed, clichéd and forced piece of entertainment that lacks flavour and character.
The action – excluding Ms. Steinfeld’s superb physicality, combat skills and manoeuvres – is riddled with a cheap and shallow T.V quality-like special effects and not even the presence of someone like Mr. Sammy J – who to be fair has had some questionable roles in the past – can help keep it grounded. Everyone seems to be game, including Alba as the pitiless killer however, the story just isn’t strong, smart or witty enough to handle the pressure.
This is yet another movie that should have gone straight-to-DVD; it says its Barely Lethal, we say it’s barely watchable.