The idea of what memory constitutes or the idea of trauma reflects in the psychology of a person and their experiences. This is the basis of “Fractured“. The beauty is some of the Netflix original films, whether acquired or not, is that they explore sometimes more character driven pieces that are based in a simple genre structures that don’t need a lot of set pieces but definitely reflect in production value and a proven actor. Sam Worthington, undeniably known as the lead in “Avatar” and its upcoming sequels, has leaned into these types of psychological genre thrillers on Netflix and found a nice niche in well written and well directed tomes that might have ended up with no distribution simply because they exist in the mid-range.
Directed by Brad Anderson, who made a more bleak but similar “Session 9” with David Caruso many years ago, the film “Fractured” exists in a realm of misperception where Worthington’s lead character arrives with his wife and daughter after an accident. However, after said wife and daughter are taken back for a CAT scan, they seemingly disappear. Worthington has always had a knack of playing paranoia as his film “Man On A Ledge” interpreted. “Fractured” at times plays more like a Hitchcock film or a “Twilight Zone” episode with a little less dread. The threads are fairly easy to follow and the violence not too overwhelming which makes for an interesting evening watch that is not too overcome by any ideals that it is trying to present.
The minimal locations and barrenness of the tundra that they are traveling across is completely reflective of the character’s mindset. The story is disjointed on purpose but the structural reflexivity does make the story move without bogging it down in too many mechanics. “Fractured” is a tight little genre thriller with understated performances but a steady idea of what it is and what it is trying to accomplish.
By Tim Wassberg
Making a novel into a book is about understanding who the perception of the film is based towards. “The Goldfinch” is very clear about this and the hyperfocus of a boy who goes through a tragedy. The story is told with aplomb in many ways. The movie plods along with the essence of a late 70s movie but at times seems to forget what it is serving and, at others, seems laser focused. Director John Crowley, who also directed the rich “Brooklyn” which starred Domnhall Gleeson and Soarise Ronan, does an apt job here with reservations.
“Brooklyn”, like “The Goldfinch” does no feel the need to move to satisfy people’s current tastes. The movie is not so much a thriller or a mystery which some of the trailers might claim it to be. It is a basic character story…maybe one that would have been better served by a limited television series. But movies are meant to be seen in many ways on the big screen since certain actors can shine in ways that are different in other mediums.
This film is truly that of Oakes Fegley who plays the young Theo (played by Angel Elgort in the later scenes). Fegley conveys a sense of dread and lost childhood. His possession of a certain artifact after a tragedy is what connects the movie. While the grief and emotional pull of his acting is not overwhelming, it is palpable especially when he is inside the house of Nicole Kidman or hanging out with his Russian school friend on the edge of society in Las Vegas.
Nicole Kidman takes a small role as his caregiver and surrogate mother at two points in his life. Even though her character doesn’t have a whole ton to do, Kidman is undeniably effective as the mother who is in control and yet not, compassionate and yet poised, happy and yet sad. It reminds me in certain ways of Kidman in “The Hours” or Julianne Moore in “Far From Heaven” though those are still better performances. But she is understated here.
The true waste of the film since she has a role that could been played by anyone is that of Sarah Paulson. As an audience member it is undeniable to know what she is capable of. Maybe she wanted to work with the director but her talent is just barely touched in this as the Las Vegas girlfriend of Theo’s dad (overplayed a bit by Luke Wilson).
The only one who seems to get a more fully formed structure is Geoffrey Wright as a antiques dealer who suffers a loss but also offers an unfettered kindness to the victims. Geoffrey hasn’t had a chance to play such soul in a long while. You can see the emotional hurt pouring through him.
Ansel Elgort as the older Theo takes on a quieter role than he is know for. The acting again is solid but not transcendent and while the movie undeniably has to move to its end with a certain determination, its resolution is simply satisfactory yet still fulfilling. The music adds just the right amount of melodrama without overstating and Robert Richardson’s cinematography is understated and yet luscious at the same time. John Crowley as with “Brooklyn” shows that he is an apt director but is not catering to anybody’s notion of pace. While that may make the movie slow, it does not make it any less of a well made movie. It is just not as greater as maybe it wants to be. It comes off as a effective adaptation of a book, one that is very cognizant of not losing its identity along the way.
By Tim Wassberg
The vision of a movie like “Hustlers” connotates something epic, the essence of bad ass criminals making their time. But there is less glee in “Hustlers” and more pontification. Even in the superior “The Kitchen”, the girls look like they are having fun until they are not. The texture of “Hustlers” is in many ways lacks this because the film feels at times flat and the strippers in many ways are acting more like, well, actors. Jennifer Lopez sells her role as the stripper with an angle to take what she wants but one never gets past the idea that she is a music star playing a stripper. For all her ad-libbing (which is mostly random), Carli B seems much more genuine despite the fact that she doesn’t seem controlled in any way in the one scene she is in.
Constance Wu as Destiny seems to be living and acting in another movie. She is hustling to pay the bills to help support her grandmother, but there is no sense why or how she got to this point. The movie is lacking, along with more than passing degree of style, a backstory for many of the characters. Even the woman (Julia Stiles in a thankless role) who is interviewing Destiny [Lu] doesn’t speak to who she works for. The movie takes place a void in many ways. The story is set during the time of the housing crisis and the movie is based on an article about apparently how the strippers from Scores in NYC started hustling their marks by feeding them drugs and then shanghaiing their credit cards.
The movie could have had a “Boogie Nights” sensibility but didn’t quite get there or really at all. There is only one shot that truly feels cool in the whole movie which is a walking shot on a NY city street with Lopez set to Lorde’s “Royals” because it truly captures the themes and the world in a small way. STX took over releasing “Hustlers” from Annapurna who made the film. Annapurna made the exceptional movies “Booksmart” and “Where’d You Go Bernadette” this year but they must have known they had a critical stinker on their hands because they dropped this movie.
Lopez is the most edgy she has been in a while but sometimes she is acting and sometimes she is simply playing the bling of it without context. Even “Shades Of Blue” on NBC, her character had a heavy degree of context but I guess it also has to do with sparring partners. In “The Kitchen”, the girls were all different but there was a sense of belonging even in morally questionable situations. Here it seems, even though they shot the film in 29 days, that they spent too much time on some things and not on others. Also, not that it needs to be there, but the deliberate keeping of all the actress from stripping at least to a certain point gives the movie a lack of authenticity. Again Cardi B is the only one who gets close save for JLo’s opening dance number which is suitably impressive and shows her control of her presence but that is not enough to sustain the movie.
Lili Reinhart, who plays Betty on “Riverdale” on the CW, looks like a deer lost in headlights and grossly miscast. Her handlers might have told her it would be a good career move but it backfired because without a better script and a more nuanced director, the film just flails and never feels either truly cool or tragic. Her character is supposed to be a lost puppy who gets pulled in but she does not fill the role at all (despite how good she can be on “Riverdale”). The use of music overall also doesn’t stand out, except for the aforementioned Lorde song, which seemed out of place in the movie but truly belonged. Even some of the JLo’s older songs would have least added a degree of meta to it. All in, “Hustlers” is a misfire that had a great premise but not the follow through needed on the cylinders provided.
By Tim Wassberg