Joel Edgerton is one of the most interesting actors to have emerged in the last few years his roles always seem edgy, raw and different. His directorial debut then is a huge disappointment, not because it’s terrible it isn’t but because it is so generic. Frankly this thriller could have been written and directed by anyone, such is its reliance on clichés. Edgerton also wrote it, so presumably it’s his vision, unless there was a bit of studio interference.
Jason Bateman and Rebecca Hall play a couple who have just moved from Chicago to Los Angeles for his job he is a high-flying exec in a modern computer giant. They seem to have everything plenty of cash for their open-plan home high in the hills, a nice car, a lovely dog, and Hall, a talented interior designer, makes friends with the neighbours. But there is one blip, she is trying to get pregnant, and hints that she had a particularly bad miscarriage the year before.
While out shopping for expensive design stuff for their house, Bateman feels a tap on his shoulder, and turns round to find Edgerton, apparently an old school chum. Bateman faintly remembers him, they shake hands and go on their way. Crucially however Hall has given the shop her address, which Edgerton overhears, and suddenly gifts start turning up at the front door, from an expensive bottle of wine to some carp for their pond.
When Bateman fails to ring him up to thank him, Edgerton then turns up at the front door, bringing more gifts, fixing the TV and generally hanging around, much to Hall’s discomfort. Eventually he asks the golden couple round to dinner which, surprise surprise, turns out to be the most painful dinner party ever given. Something is clearly going on, Hall is worried but Bateman is merely baffled not letting on that an event from their past has led to this borderline stalking.
It’s a hoary old set-up, but it’s the predictability here which is so disappointing. Edgerton practically puts signposts on the screen scary bit coming up with his clumsy use of strings and visual clichés. That old chestnut, the steamy bathroom mirror being wiped clean and a face appearing gets an airing, as does a silent scene followed by a loud dog bark. You’ve seen it in Fatal Attraction, now see it again!
What is as bad is Edgerton’s use of character. Nice guy Bateman is clearly a complete tool from the moment we see him swigging posh wine and slapping his work colleagues on the back there’s a tedious sub-plot about his push for promotion and the usually reliable Hall is reduced to a series of frowns and ticks she’s nervous! See how nervous she is! Edgerton himself meanwhile is a cipher, the bullied kid at school who has forgotten to grow a personality and merely slopes about with a pained expression on his face. There are some nice shots of LA in the mist, but that’s about it.
Overall verdict: Hugely disappointing, generic thriller which ticks a few boxes but never rises above the mediocre. From a talentless person that would be acceptable, from Edgerton, surely he can do better.
Reviewer: Mike Martin