Guillermo Navarro's cinematography and a struggling cast cannot compensate for the weak script in this predictable thriller. I do not hold it against the picture that they went through other leads, although it is obvious that the role was not written for Swank specifically. She makes a solid effort at vulnerability, as per the part, despite the copiously fogged nude scenes making it clear that this ex-Karate Kid and $M Baby could put most guys through a wall. And Christopher Lee is used well, if sparingly, though fans should not come in expecting a huge role for him. I did not, and was not disappointed.
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But the film is packed with the kind of dialog in which characters literally declare their emotional state to the audience, "I am ___ , because ___." This picks up a little with the intrusion of a he said/she said on screen rewind of the events just seen, which are then replayed in montage so as to reveal the antagonist's back-story and motives in a manner more ham fisted even than the dialog. The rewind flashback is exceeded even by a facile, inverse, parallel use of guns near the open and ending shots. The score is adequate if derivative, with some droning bells and manipulated strings that match well with the early use of environmental sounds in the cityscape.
Despite these many overplayed elements, Navarro's cinematography is pleasingly smart. A white on black color motif that shifts to red for effective foreshadowing, it helps relieve the series of lame jump-scares. Institutional colors at her work alternate with warm flesh tones for intimate interiors, and smooth use of the established apartment space with more interesting camera movement than your typical voyeur thriller.
Morgan is also good, and it is promising to see him cast in Bornedal's upcoming film for Raimi's uneven Ghost House Pictures. But overall, this is a disappointing but not terrible film. Maybe hard for Hammer fans to take, as they seem to be harking back to earlier thriller/noir territory rather than more horrific or explicit films. The casting seems problematic here, and the use of Radcliffe in the upcoming Lady in Black remake is worrisome as a similar strategy. That film should at least have a better script, adapted by Jane Goldman, than this did.
Hammer has a history of re-adapting classics, featuring actors for their name, and doling out the nudity - so it is pleasing to see this film as part of a move in that direction after the unambitious Let Me In. They do seem to be playing it overly safe with some casting choices, although perhaps these upcoming projects will push further against type. Hopefully, they can retain this level of technical gloss and apply it to more original or at least cleverly realized work.
***************************SPOILER ALERT******************************
But the film is packed with the kind of dialog in which characters literally declare their emotional state to the audience, "I am ___ , because ___." This picks up a little with the intrusion of a he said/she said on screen rewind of the events just seen, which are then replayed in montage so as to reveal the antagonist's back-story and motives in a manner more ham fisted even than the dialog. The rewind flashback is exceeded even by a facile, inverse, parallel use of guns near the open and ending shots. The score is adequate if derivative, with some droning bells and manipulated strings that match well with the early use of environmental sounds in the cityscape.
Despite these many overplayed elements, Navarro's cinematography is pleasingly smart. A white on black color motif that shifts to red for effective foreshadowing, it helps relieve the series of lame jump-scares. Institutional colors at her work alternate with warm flesh tones for intimate interiors, and smooth use of the established apartment space with more interesting camera movement than your typical voyeur thriller.
Morgan is also good, and it is promising to see him cast in Bornedal's upcoming film for Raimi's uneven Ghost House Pictures. But overall, this is a disappointing but not terrible film. Maybe hard for Hammer fans to take, as they seem to be harking back to earlier thriller/noir territory rather than more horrific or explicit films. The casting seems problematic here, and the use of Radcliffe in the upcoming Lady in Black remake is worrisome as a similar strategy. That film should at least have a better script, adapted by Jane Goldman, than this did.
Hammer has a history of re-adapting classics, featuring actors for their name, and doling out the nudity - so it is pleasing to see this film as part of a move in that direction after the unambitious Let Me In. They do seem to be playing it overly safe with some casting choices, although perhaps these upcoming projects will push further against type. Hopefully, they can retain this level of technical gloss and apply it to more original or at least cleverly realized work.
