Thriller

Unknown

  • Title: Unknown
  • IMDB: link

unknown-posterLiam Neeson stars as Dr. Martin Harris, a scientist from the United States who arrives in Germany with his wife (January Jones) for a medical conference, only to find his very life stolen from him in the space of four days.

After a car accident leaves him in a coma, Martin awakes days later to find his life has been Taken away from him and an another man (Aidan Quinn) has assumed his identity. Frantic, Martin tries to piece together his fractured memory with the help of a cab driver (Diane Kruger) and a former East German spy (Bruno Ganz).

The film was based on the novel by Didier Van Cauwelaert, but could have just as easily been pieced together from a variety of recent Hollywood thrillers. There’s nothing new added to the equation, and the execution is far from thrilling.

That’s not to say Unknown is a bad film. It hits the right marks, the action sequences are passable, and the movie does include one fairly well done car chase through the streets of Berlin.

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Rabbit Hole

  • Title: Rabbit Hole
  • IMDB: link

Is there anything worse than the loss of a child? Adapted from his play, writer David Lindsay-Abaire gives us the tale of a couple struggling with the death of their young son Danny (Phoenix List) eight months after his death.

On the outside the lives of Howie (Aaron Eckhart) and Becca (Nicole Kidman) seem normal enough. But we can tell something is wrong. We slowly realize there is a missing member of this family whose absence is not only felt in every frame but is slowly destroying the couple from within.

For 90 minutes we follow Howie and Becca through their pain, various coping techniques, and watch each of them struggle with their inability to move beyond such a devastating loss. Director John Cameron Mitchell‘s film is not a fun hour-and-a-half by any means. This version of Lindsay-Abaire’s play is full of raw emotion just under (and often boiling over) the surface.

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All Good Things

  • Title: All Good Things
  • IMDB: link

Although the film is based on the real events surrounding the life of Robert Durst, the main problem with the screenplay by Marcus Hinchey and Marc Smerling is how ridiculous the events appear when recreated on film.

What starts as a love story and tense drama about a troubled son of a real estate broker devolves into a thriller. Then the thriller turns into the kind of cinematic disaster nobody wants on their resume. All Good Things may be based on a real story but it plays like bad fiction.

There’s something off about David Marks (Ryan Gosling) the first time we meet him, but that’s not enough to stop the charming Katie (Kirsten Dunst) from falling for him. Needled by his father’s (Frank Langella) disapproval David and Katie leave the tranquil health food store in Vermont so David can act as the bagman for the family business collecting cash from various seedy Times Square enterprises which the Marks famly owns.

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Salt

  • Title: Salt
  • IMDB: link

Originally intended as a vehicle for Tom Cruise Salt was shelved and then given an impromptu sex change operation to ready the way for Angelina Jolie to headline the shoot ’em up. When your leading man becomes a leading lady the original script by Kurt Wimmer (Ultraviolet , Street Kings) had to be rewritten by Brian Helgeland (Conspiracy Theory, Assassins, Man on Fire), and director Philip Noyce (The Bone Collector, Clear and Present Danger) was tasked to make it all work. That’s an awful lot of time and effort to put into a project well before shooting was scheduled to begin. Too bad it wasn’t worth it.

Angelina Jolie stars as CIA Agent Evelyn Salt, a fugitive on the run after being accused, by the questionalbe word of a dying former Russian spy (Daniel Olbrychski ), of being part of a top secret Russian sleeper cell doomsday scenario more than three decades in the making.

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Chloe is far less erotic and thrilling than you were hoping

  • Title: Chloe
  • IMDB: link

“I try to find something to love in everybody. Even if it’s a small thing.”

What makes a good erotic thriller? The simplest method I’ve found is what I call “the giggle test.” If either or both the dramatic and sexually-charged scenes of a movie make you giggle (or groan) it fails the test. An erotic thriller that makes you guffaw uncontrollably may become a cult classic (see Showgirls) but a slight giggle or two means only mild amusement at best (and only at the expense of those on screen). Chloe doesn’t pass the test.

One might expect, given the cast at his disposal and experience in this genre, director Atom Egoyan (Where the Truth Lies, Exotica) fully capable of adapting the French erotic thriller Nathalie… for American audiences. One would be wrong.

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