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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.
With films like Hunger Games, Divergent and Twilight finding unbridled box office success, adult feature film adaptations have, to some extent begun, to reach saturation and the latest proves exactly that.
The Maze Runner builds on a genuinely intriguing dystopian setting that fails to offer anything new to the genre as a film, despites the interesting premise of James Dashner’s 2009 book.
Directed by first-time filmmaker, Wes Ball, the story follows Thomas (O’Brien); a young man who finds himself waking up with amnesia and surrounded by an army of equally curious young men. He soon learns that he has woken up in the Glade; a sprawling savannah that is towered off by high – and maze-like – concrete walls.
Just like Thomas, the boys, led by Alby (Ameen) – who has been stuck in the Glade for the past three years – are unable to recall who they are and how they got there. The increasing number of new arrivals eventually led the confused boys to build a functioning mini-society of sorts, that depends on ‘runners’ – the fittest, fastest and most agile of the group – to race into the maze each day and look for a way out. The task is made all the more daunting by the fact that the gates that guard the maze close buy sundown and no one dares imagine what could happen to anyone who gets stuck there with the large monsters known as Grievers who patrol the maze at night.
Thomas initially has a hard time believing the myth, but realises the severity of the situation when one of the boys’ life is put into danger. The group is soon thrown into complete chaos when the first girl to arrive at the Glade, Teresa (Scodelario), shows up with a threatening message, making the boys realise that they can no longer wait for a miracle but, that they themselves must find a way to escape – and fast.
The Maze Runner marks the first and the opening chapter of a planned three-part series that once again sees a group of teenagers fighting for their lives against a mysterious and much superior force. To its credit, though, the story is fairly engaging, as the plot builds on a similar premise to William Golding’s 1954 novel, Lord of the Flies.
The film succeeds in projecting a deliciously claustrophobic tone and the characters are likeable, while even the action is pretty solid throughout.
However, the film plays out like an intro to the series and those who haven’t read the book might feel a little cheated by the fact that the character of Thomas is never really explored and short-changed by the abrupt - and calculated - finale.
Overall, The Maze Runner is a decent, if unremarkable, first chapter to the series and now the pressure is really on for the second.
Liam Neeson’s ‘special set of skills’ are once again put to good use in Scott Frank’s latest neo-noir thriller, A Walk Among the Tombstones; a dark and a gritty spy-thriller that takes a rather a brutal approach to the notions of revenge and redemption.
Set in 1991, the story – adapted from the pages of Lawrence Block’s popular series of novels of the same name – centres on Matt Scudder (Neeson); an ex-cop turned unlicensed investigator, whose love for booze has forced him to retire early and join an alcoholic anonymous support group.
During one of their regular meetings, Scudder is approached by fellow alcoholic, Peter Kristo (Holbrook), who informs him that his drug-trafficking brother, Kenny Kristo (Stevens), requires his services. After being summoned to Kenny’s lavish home, it’s revealed that Kenny’s wife was kidnapped and, despite paying the hefty ransom, was killed and returned to him in pieces.
Scudder befriends a homeless but seemingly intelligent boy, TJ (Bradley), while conducting research and, despite his young age, becomes a close friend and an informal assistant. The road to revenge soon leads them to creepy cemetery groundskeeper, James Loogan (Olafsson), and Scudder, whose past still haunts him, soon learns that there’s more at play than just a kidnapping.
Directed and adapted to the screen by Scott Frank, A Walk Among the Tombstones doesn’t exactly fall in line with Liam Neeson’s recent filmography and those expecting more of the bravado in Taken, might be a little disappointed. This is a slow-burning picture which requires a certain amount of stomach – thanks to its graphic violence – and staying power due to its longwinded and lengthy plot. The cinematography paints the New York setting in tones of grey which contributes to an engaging overall sinister tone.
Neeson carries the story like a true Hollywood pro as the enigmatic lead and he comes across as unbending, kind and utterly ruthless all at the same time. Unfortunately, the villains – played by Harbour and Thompson – are a little cartoonish, while Olafsson’s character deserved a little bit more screen-time.
Taking everything into account, A Walk Among the Tombstones is a solid film that owes most, if not all, of its charisma, so to speak, to Mr Neeson.