Review by Bob Ignizio
Although best known as an actor, Joel
Edgerton has also been building a respectable resume as a screenwriter. He
seems drawn towards genre films (neo noir with THE SQUARE, cop drama with THE
FELONY, post-apocalyptic action with THE
ROVER), but tends to subvert the conventions of genre as much as he
embraces them. This makes for films that, at least by the standards of modern
Hollywood, are interesting and original. No surprise, then, that Edgerton finds
himself in similar territory for his directorial debut THE GIFT, which he also wrote, produced, and stars in.
The genre this time is the sort of
domestic thriller popularized in the late eighties/early nineties by films like
SLEEPING WITH THE ENEMY, UNLAWFUL ENTRY, THE HAND THAT ROCKS THE CRADLE and, more recently, THE BOY NEXT DOOR and THE GUEST. The film begins with a
seemingly happy and successful married couple – Simon, played by Jason Bateman,
and Robyn, played by Rebecca Hall – buying a new home. The house is near where
Simon grew up, and while doing some shopping in town, an old classmate of his
(Gordo, played by Edgerton) comes up to Simon at the cash register and tries to
renew their acquaintance.
Before long Gordo is leaving an
excessive number of housewarming gifts at his old classmate’s abode and, more
disturbingly, showing up unannounced when Simon is at work to visit with Robyn.
We all know where this is going, right? Well, actually we don’t.
Rather than follow the usual formula for
the kind of thriller we think we’re watching, THE GIFT switches gears into something that strives to be more
substantive and thought provoking. It turns out that in high school, Simon was
a bully, and Gordo was on the receiving end of a particularly mean-spirited
prank. And while he seems kind of odd and creepy, Gordo may actually just be
looking for some kind of closure, closure Simon isn’t interested in giving him.
Meanwhile Robyn starts to wonder just who is this guy she’s married to (and trying
to start a family with), and when Simon refuses to give her the answers she
seeks, Robyn starts doing a little digging of her own. The plot, and audience
sympathies, will shift a few times before all is said and done.
As a fan of Edgerton’s previous work as
both writer (in particular on FELONY)
and an actor, I was really rooting for him in his first stab at directing. But
while in principle I appreciate the way he plays with, and frequently thwarts,
audience expectations. The execution, however, feels about as smooth as me
trying to drive stick, which is to say the cinematic equivalent of, “if you
can’t find it, grind it.” It’s also a bummer that, after having Hall’s Robyn
drive the plot for most of the second act, the movie then sidelines her for the
conclusion. Which would be bad enough, but the movie also raises a particularly
troubling possibility more as a way of getting back at Simon than the assault
on Robyn’s person it truly would be. Were this just a sleazy exploitation film
that might not matter so much, but seeing as THE GIFT is aiming higher, it’s disappointing.
Given how critics, myself included,
often gripe about the formulaic nature of so much that comes out of Hollywood,
it feels a bit like looking a gift horse in the mouth to be too hard on THE GIFT, which if nothing else is
quite a departure from the usual fare. But as much as one may admire what the
film is going for, it just doesn’t satisfy. Those looking for a more
traditional thriller will feel cheated, and those hoping for something more
will likely feel shortchanged. I’m sure there will be those who like it more
than I did, and if you’re fed up enough with cookie-cutter Hollywood fare it
might be worth taking the chance. I just can’t quite recommend it. 2 ½ out of 4
stars.
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