A good genre film often seems deceptively simple, so it sometimes takes
years of watching the inevitable disastrous remakes for the original to
be fully appreciated. Die Hard, for example, performed well at the box
office, but it wasn't until Under Siege and Passenger 57 shamelessly emerged
that critics really started to praise it. Hopefully, then, Gothika will
at least help us to re-evaluate the suspenseful What Lies Beneath - as
it's not good for much else.
Like What Lies Beneath, Gothika is a supernatural thriller with elements
of horror that tells the story of an idyllic family torn apart by a dark
secret. Halle Berry plays Miranda, a psychiatrist who spends her life
treating female sociopaths at a women's asylum run by her husband (Charles
S. Dutton). One cliché-ridden night, she crashes her car swerving
to avoid a ghostly girl who appears in the middle of the road, and then
bursts into flames. When Miranda wakes up, she's a prisoner in her own
prison, and suspected of the bloody murder of her husband.
Miranda remembers nothing about the night, but we know that Halle Berry
can't be guilty, so the plot keeps us guessing, presenting a number of
potential perps, including Penelope Cruz's histrionic murderess and Robert
Downey Jr. as a rather smooth doctor. Red herrings abound, but it's clear
that despite the supernatural theatrics there's some kind of real world
explanation fuelling the flickering lights and writing on mirrors, and
it's actually pretty clear what it is.
All the staples of the genre are present then, but that needn't be a
bad thing. The problem is that someone forgot to put the story in. The
plot makes no sense, predictably enough, but it would help if at least
the scenes made sense. Incredibly, when Miranda wakes up in the cell she
doesn't bother asking why she's there. When told that her husband has
been brutally murdered she starts crying, naturally enough, yet the doctors
that have known and loved her for years take this as a cue to throw her
to the floor and sedate her.
This lack of any internal logic prevents us from engaging with the mystery,
so the audience is simply left to wait and see what happens. It's not
even a pleasant wait, as the film is so graphically violent, with (at
least in the screening I attended) a deafening soundtrack of smashes and
shrieks, you spend half your time covering your ears. And, to be clear,
not because it's scary.
Gothika (what is that title supposed to mean?) aspires to the heights
of films like The Silence Of The Lambs and What Lies Beneath, but fails
miserably, despite some creepy cinematography and adequate performances.
If you value your time, your money, or your hearing, give it a wide berth.
David Haviland, 25.03.04
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