MOVIE REVIEW: The casts of ‘Fracture’ and ‘Vacancy’ deliver some solid creepiness
“Fracture”
Rated R, Grade B
After watching this film, I believe I said the word, “Good.” I did not say, “Wow.”
Ryan Gosling (“Half Nelson”) plays a crafty, Southern lawyer with effortless swagger, enjoying the high life of Los Angeles as he climbs the corporate ladder. That is, until he’s appointed as the prosecutor to convict a man for murdering his wife. This alleged murderer is played by Anthony Hopkins (“All the King’s Men”), who’s dripping with smooth, infuriating creepiness.
Due to a series of frustrating technicalities, the creepy murderer gets closer to freedom while the aggravated lawyer starts cracking under the pressure.
If I ever meet the director of this film (Gregory Hoblit, “Frequency”) I am going to punch him. He let the producers lead us all astray with suspenseful previews of boiling force. “Fracture,” however, does nothing more than simmer as a dark, calm mystery.
Even though it doesn’t get your heart racing, “Fracture” proves to be an effective film reminiscent of black and white detective dramas. Lots of puzzle pieces are sprinkled throughout, and most of the film features Gosling trying to pick them up without stumbling. He doesn’t stumble in his performance, and neither does Hopkins.
I only left the film feeling unsatisfied with the storyline. Parts of it were filled with so much legal jargon I thought I was watching an instructional video for law school. Other parts, like the ending, were wrapped up so nicely that I struggled to believe what was happening.
While many of us are ending a part of our lives and moving on after college, including me, I hope we don’t meet endings like this film does. We want excitement; we want thrills.
“Vacancy”
Rated R, Grade B+
In this motel, people check in…but they never check out.
Even though the premise for this film seems painfully cliché, it remains controlled and patient enough to frighten you.
Luke Wilson (“The Family Stone”) and Kate Beckinsale (“Click”) play an embittered couple in a deteriorating marriage. That can’t be good. After a string of predictable events (“What?! We’re not on the interstate? And now our car’s broken down? And we’re in the middle of nowhere?!”), they check into a grungy, isolated motel and soon discover they’re trapped. And the only way out is death.
Everything is so subtly and cleverly revealed that you can’t help but slowly clutch your armrest. Once the married couple discovers their hotel room is being secretly videotaped, it’s a grisly fight for survival.
Hungarian director NimrÃd Antal (“Kontroll”) gives us just the right amount of tension and violence (although the violence sometimes teeters on the gratuitous).
It’s a wonder that this film gives such a solid stab. The cast is small, the setting rarely changes, and the scare tactics remain minimal. But banging doors, flickering lights, and strange videotapes work their magic here, and everyone gives a realistic performance.
Like a rickety roller coaster, there are moments to scream and moments to gather your bearings. And a few unforeseen shockers help to balance out the clichés and hurried ending.
Casey T. Allen has been the loyal Statesman movie critic for 2 1/2 years. Comments can be sent
to him at caseyal@cc.usu.edu.