THE CELL
by Gary Susman
Can we please, please, please have a moratorium on serial-killer movies? Okay,
The Silence of the Lambs was good a decade ago, but since then,
serial-killer movies have been less about exploring the nature of evil (or
psychosis) than about turning torture into entertainment, less about finding
the humanity within their characters (sleuths and victims as well as murderers)
than about inventing striking new displays of cruelty.
The Cell is the nadir of this trend so far. It purports to go beyond
previous entries in the genre by depicting the actual thoughts and imagination
of its bogeyman, a killer of young women named Carl Stargher (Vincent
D'Onofrio) who slowly drowns his victims as a prelude to even more-perverse
treatment. When agent Peter Novak (Vince Vaughn) captures him, Carl falls into
a coma before he can reveal where he's trapped his last victim. Peter enlists
Catherine Deane (Jennifer Lopez), a psychologist whose virtual-reality device
allows her to enter the minds of comatose patients, to probe Carl's brain for
the tank's location while there's still time to save the woman. Once inside his
mind, Catherine finds a vivid, baroque world of images, memories, and horrors
from which she herself may not be able to escape.
Not that the movie has any actual interest in Carl's psychology, which, despite
D'Onofrio's genuinely creepy performance, proves banal and cliché'd.
(His father, a backwoods fundamentalist, beat him and may have sexually abused
him.) In fact, thanks to the plot holes in the sketchy script by rookie
screenwriter Mark Protosevich, the trip into Carl's mind is superfluous, since
Peter uncovers through ordinary detective work all the clues he needs to find
the hidden victim. The script doesn't even bother to give Peter and Catherine
any personality traits. Lopez proved she can act in Out of Sight, but
here she's just a beautiful doll to be dressed up in lavish, imaginative
costumes (by Eiko Ishioka, who won an Oscar for her work in Bram Stoker's
Dracula) and posed in striking tableaux of menacing kink.
The film's visuals are stunning, even lovely at times, as long as you can
ignore their depravity. First-time feature director Tarsem Singh, whose lush
parade of images inspired by religious and folk art will be familiar to viewers
of his commercials and music videos (including R.E.M.'s "Losing My Religion"),
has innovative style to spare, but what kind of achievement is it to come up
with glorious lighting and arresting composition in order to photograph a
naked, blood-soaked corpse? The Cell's combination of gory misanthropy,
state-of-the-art visual effects, and reverence for art's Old Masters (one
literally gut-wrenching torture sequence is shown later to have been inspired
by a centuries-old painting, as if to absolve the filmmakers of being morally
bankrupt enough to have conceived this image themselves) suggests Kiss the
Girls as directed by Peter Greenaway for MTV. It's the feel-disgusted movie
of the summer. At Cinema World, Entertainment Cinemas, Gardner, the
Hoyt Westborough, Leominster, Natick, the Solomon Pond Hoyt, and the Worcester
North Showcase.
| home page |
what's new |
search |
about the phoenix |
feedback |
Copyright © 2000 The Phoenix Media/Communications Group. All rights reserved.
|