The Disappointments Room

Kate Beckinsale reflects.

(2016) Supernatural Thriller (Rogue/Relativity) Kate Beckinsale, Mel Raido, Lucas Till, Gerald McRaney, Michael Landes, Celia Weston, Michaela Conlin, Charles Carroll, Duncan Joiner, Ella Jones, Marcia de Rousse, Jennifer Leigh Mann, Melissa Eastwood, Robert McRary, Chris Matheny, Mike Bizon, Peabody Southwell, Steve Stamey, Robert Caponi, Rebecca Kerns. Directed by D.J. Caruso

 

When you move someplace new, exploring your new digs is half the fun, especially if it’s one of those wonderful old houses with long corridors and lots of doors. However, it is wise to remember that in some old houses, some doors shouldn’t be opened.

Dana (Beckinsale) and David (Raido) have just moved into one such house. They’re trying to pick up the pieces after the untimely death of an infant daughter. Dana, in particular, is a bit of a mess but David figures that having her redesign her new home (she is an architect, after all) might help take her mind off of things and lift her out of her doldrums.

But then she finds a door to a room in the attic that doesn’t appear on the floor plans, which is kind of bizarre because the room has a distinctive round window that can be seen clearly from the yard. But, okay – she is almost obsessed about opening the door and eventually she finds the key. The room has scratch marks, a drain and some disturbing looking stains that might be blood.

She begins to have visions of an intimidating man in black who turns out to be Judge Blacker (McRaney), a previous owner, and his vicious looking dog. Disturbed by the visions, she looks into the room and discovers that it was what was called a “Disappointments Room” where the wealthy would lock up their children who had mental issues or physical deformities (and sometimes their wives too – yes, disappointments rooms were a thing). When she is trapped in the hidden room for what seems like hours, she is mystified to discover she was only gone a few short minutes. Her sanity begins to take a tumble.

Not making matters much better is a hunky contractor (Till) who seems more interested in flirting with her than in actually getting the roof fixed nor a poorly timed dinner party when a drunken Dana pops her cork and has an epic meltdown. But the question is whether or not the house is truly haunted – or if Dana is descending into madness.

Caruso has a track record of both terrific suspense movies and also some fine action films but this is one that isn’t going to be front and center on his resume. The movie feels like it went off the rails near the end of the film, having either been rewritten from the original script by actor Wentworth Miller (who doesn’t appear in the film, alas) or was edited by someone at the studio’s nephew who turns out to be completely psychotic.

But the rest of the movie does a good job of building the “is she or isn’t she” suspense and Beckinsale was born for this kind of role, where she has to play things high strung. She’s a marvelous actor, horribly underrated who has a history of excellent but overlooked performances in genre films. She’s starting to branch out lately (Whit Stillman’s Love & Friendship is one such) and hopefully she’ll start to see roles that will attract more notice. Here she really holds the movie together almost by herself, but as I said the movie spirals into the toilet bowl of doom through no fault of her own.

The problem here is that that the movie kind of loses its inertia and at the end goes for cliches and easy scares rather than taking the ball it had been carrying all game long and running for the touchdown with it. And yes, that’s an intentional mixed metaphor; that perfectly explains how the movie felt to me.

This was a victim of the Relativity Media bankruptcy; it was in limbo for more than a year while the company sorted through its financial issues. It was actually supposed to open in November but for some reason the company pulled Before I Sleep from the schedule with less than two weeks to go and inserted this into the slot, shuttling it into theaters without any sort of promotional support whatsoever. Predictably, it died a quiet and painful death at the box office. It didn’t help matters that the movie is mediocre at best, but it seems sad that this is going to be a pretty decent performance by Beckinsale that will largely go unseen. That’s the big disappointment here.

REASONS TO GO: Beckinsale elevates the movie as she usually does.
REASONS TO STAY: The film is often confusing and disjointed.
FAMILY VALUES: There is some violence (some of it bloody), some disturbing images, a bit of foul language and a couple of scenes of sensuality.
TRIVIAL PURSUIT: The house used for the main location shooting was the Adamsleigh estate in the Sedgefield Country Club outside Greensboro, North Carolina. The home was built in 1930.
CRITICAL MASS: As of 10/9/16: Rotten Tomatoes: 0% positive reviews. Metacritic: 31/100.
COMPARISON SHOPPING: The Perfect Husband
FINAL RATING: 5/10
NEXT: Sully

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Gothika

Penelope Cruz and Halle Berry conduct a pretty faces who aren't just pretty faces face-off

(2003) Supernatural Thriller (Warner Brothers) Halle Berry, Robert Downey Jr., Charles Dutton, Penelope Cruz, John Carroll Lynch, Bernard Hill, Dorian Harewood, Bronwen Mantel, Kathleen Mackey, Matthew G. Taylor, Michel Perron, Andrea Sheldon, Amy Sloan, Anana Rydvald. Directed by Mathieu Kassovitz

 

After an Oscar-winning tour-de-force in Monster’s Ball and a well-received role as Jinx in the James Bond  (Pierce Brosnan-era) flick Die Another Day, what Halle Berry needed to do was to show that she can open a film, in Hollywood parlance, to move up into upper echelon of stardom.

On the surface, Gothika would seem to be a strange choice for Berry’s declaration of superstardom. After all, it comes from Dark Castle Productions, which up to that point had for the most part been serving up remakes of William Castle-produced B-movie horror classics, only with better budgets and modern eye-popping effects (see House on Haunted Hill, Th13teen Ghosts). This one is a bit different. For one thing, it is a completely original story, one of the first Dark Castle produced.

The plot isn’t a simple one. At first glance, Dr. Miranda Grey (Berry) seems to have a pretty nice life. A respected psychologist at a gothic woman’s prison in New England, she’s married to the warden (Dutton), himself a psychologist of some repute. There are hiccups, of course. One of her patients, Chloe (Cruz) seems to be imagining phantom rapes that she claims were perpetrated by the devil. When Miranda seeks a more rational explanation, Chloe exclaims “You can’t trust someone who thinks you’re crazy.” But the ever-rational Dr. Grey, who believes in logic above all, finds that Chloe’s rantings are the cries of a woman attempting to displace her guilt at having murdered her abusive husband.

That dark and stormy night Dr. Grey is forced to take a detour home when her normal route is washed out by the rain. She has to pass over a lonely bridge, when she nearly runs into a girl (Mantel) standing in the middle of the road, causing her car to skid into a ditch. When Dr. Grey goes to see if the girl is all right, she finds the girl is badly gashed. That’s the last thing she remembers.

Three days later, Dr. Grey wakes up — to discover she is now a patient in the penitentiary at which she formerly worked. When she demands to see her husband, her former co-worker, Dr. Graham (Downey), informs her that her husband isn’t in and wouldn’t be in again for the foreseeable future – and that Dr. Grey herself had punched his ticket for the choir invisible.

When Dr. Grey loses it, she is sedated. Over the next few days, she tries to piece together what happened, through therapy sessions, interviews with the sheriff (Lynch) who also happened to be her late husband’s best friend, and her own fragmented memory. When Dr. Grey sees the girl in the prison shower that she nearly ran into that fateful night, she becomes upset which I suppose is perfectly justifiable.

After some digging, Dr. Grey discovers that the girl is actually the daughter of a hospital administrator (Hill) and there is a bit of a problem; the girl had committed suicide years before. Dr. Grey, being the logical, stable person she is, doesn’t believe in ghosts. The problem is that ghosts apparently believe in Dr. Grey, and they begin to have several violent encounters with her, escalating with each incident, and always prefaced by flickering electric lights which go largely unnoticed in a prison that has had electrical problems for years.

It becomes obvious that there is more to the murder of her husband than Dr. Grey was led to believe, and that something or someone is willing to kill the good psychologist to silence her about what she knows. The only way to survive and find the truth about her husband’s murder is to escape from the maximum security prison, and only then will Dr. Grey confront what really happened to her husband – and find out that her life will change forever.

Director Mathieu Kassovitz sets up a wonderfully spooky atmosphere, which is absolutely essential for a ghost story. Unfortunately, Sebastian Guttierez’s script has a few leaps in logic which — when you consider his main character is supposed to be defined by her devotion to logic — derails the movie at times. For example, during the escape from the prison, Dr. Grey is allowed to leave by a friendly guard who even gives her his car to use. Why would he trust her when the evidence points to her as an axe-murderer?

There is another, even more glaring hole, but I can’t discuss it here without giving away a vital plot point. The characters are a bit stock but Berry does an excellent job. She has to play a strong, self-confident woman whose whole world is shattered. Dr. Grey is not the perfect hero; she loses it from time to time, which makes her more realistic. She has to re-evaluate her view of the world as it becomes more and more evident that there is a supernatural element in the events transpiring. She shows self-pity from time to time, but her inner strength carries her through.

With an Oscar victory in hand and an important role in the X-Men franchise, Berry is a formidable presence in Hollywood. In Gothika she more than proves that she is capable of carrying a movie herself. Kassovitz, who has directed Crimson Rivers (one of the best horror movies of recent years) and Amalie, a delightfully charming fantasy, is a first-rate talent. Although the flickering electricity can sometimes be a bit heavy-handed, he prefers to build the horror through atmosphere, suspense and misdirection. There are some horrific moments of gore, but the gore isn’t so over-the-top that it defines for the movie. With this impressive cast (Downey and Cruz are wonderful), he does a fine job in his first English-language movie. I had hoped we would see great things from him at the time this came out although to date that hasn’t happened yet.

Gothika is one of those movies you don’t want to see in a dark room without someone to clutch. There are a few genuine shocks, but nothing that will put a pacemaker into overdrive. It derives its success from excellent acting, fine directing and a compelling story advanced by characters who rarely stoop to cliche. If 2003 is remembered as the year visceral horror made a comeback (and it well should be), Gothika should have been noted as one of the films that fueled the trend. Unfortunately it didn’t get the respect it deserved.

WHY RENT THIS: Stellar performances and well-received scares. Kassovitz creates an admirably spooky atmosphere, perfect for a good ghost story.

WHY RENT SOMETHING ELSE: Too many lapses in logic and plot holes. Some of the characters are a bit stock. The ending is a bit weak.

FAMILY MATTERS: There’s a good deal of violence, a bit of nudity and plenty of foul language.

TRIVIAL PURSUITS: Berry broke her arm during production when Downey grabbed her arm harder than he meant to and snapped it.

NOTABLE DVD FEATURES: There’s a Limp Biskit video covering the Who’s “Behind Blue Eyes,” a song that figures prominantly in the movie. The Special Edition DVD also includes an episode of “Punk’D” featuring Hallie Berry being led to believe she had been locked out of the premiere of the movie, as well as an MTV documentary on the making of the Limp Biskit video. There is also a featurette on the inmates in the prison, giving their backstories. It doesn’t really add much to the movie but it’s a nice touch.

BOX OFFICE PERFORMANCE: $141.6M on a $40M production budget; the movie was a hit.

FINAL RATING: 6.5/10

TOMORROW:One for the Money