Lack of plot begs audiences to ‘Stay’ away
A stilted psychological thriller haplessly submerged in confounding imagery, languid performances and an inscrutable climax, “Stay” is a film that will leave viewers walking away puzzled and disenchanted. While the film’s principal mystery is accentuated by mesmerizing visual transitions and excessive figurative depth, it’s essentially undermined by weary portrayals from compelling performers -aside from another haunting entry from Ryan Gosling – and a conclusion that’s more of a slap in the face than a proper resolution. While the various supernatural occurrences surrounding the film’s troubled protagonist may instill within viewers a sense of restrained curiosity, the film’s jaunting twists and narrative turns are executed with such listless isolation that the film’s surreal milieu remains emotionally distant. And just when the opportunity for an inventive climax presents itself to redeem the film’s stifling pace, it gradually derails the calculated clues and natural conclusions implied by key scenes and renders preceding portions of the film ineffectual. Déjà vu has never been so tiresome.
The film chronicles the fervent attempts by Sam Foster, a placid New York psychiatrist, to avert the impending death of Henry Lethem, a disturbed college student whose very existence seems to obscure the lines between life, death, fantasy and reality. Foster is aided by Lila, his calm but concerned girlfriend and former patient, and Dr. Beth Levy, a degenerative associate with an obvious attraction to the plain doctor. As his investigation of Lethem progressively skews reality, Foster eventually converses with Lethem’s deceased parents in an existential search for the truth that culminates on a vibrant, dreamlike projection of the Brooklyn Bridge.
While Ewan McGregor traditionally infuses his vibrant performances with pulsating charisma and refreshing insight, any semblance of McGregor’s trademark charm disappears under Sam Foster’s monotonous demeanor. Naomi Watts appears equally as uninterested with her stagnant, although somewhat serene, portrayal of the tragically complacent Lily. Janeane Garofolo’s turn as a one-dimensional supporting character reveals another startling waste of the collective potential that ironically aids the film’s disillusioned nature.
While Bob Hoskin’s portrayal of Lethem’s befuddled father is one of the film’s more noteworthy performances, it’s Ryan Gosling’s unparalleled grasp of tormented adolescence that brings the character of Henry Lethem significant legitimacy. But much like the last two chapters of “The Matrix” trilogy and the ambitious “Vanilla Sky,” the film conveys an overabundance of intriguing metaphysical concepts at the expense of the narrative. While the ideas presented in the film leave an impression, general movie-goers may want to ‘stay’ at home and sit this one out.
Mack Perry is a critic for the Statesman. Comments can be sent to him at
mackp@cc.usu.edu.