Directed by James McTeigue
Starring – Gabrielle Union, Billy Burke, Richard Cabral
The Plot – Gabrielle Union stars as a woman who will stop at nothing to rescue her two children being held hostage in a house designed with impenetrable security. No trap, no trick and especially no man inside can match a mother with a mission when she is determined on Breaking In
Rated PG-13 for violence, menace, bloody images, sexual references, and brief strong adult language
– Perhaps my single favorite element of this film was the red-light infused set pieces that amplify the tension in the areas where the screenplay doesn’t. There’s certainly an 80’s neon vibe being accentuated here, and even though it does feel practical as far as aesthetics go, it still sets the tone properly in the simplistic sense.
– While the film is short on exposition, the element of one-upmanship still prospers between Union and Burke’s characters. More so during the second half, the film consistently keeps upping the ante and passing off control of the situation to prove that there is no easy solution to this conflict.
– At 83 minutes, this is as easy of a theatrical sit as you’re going to get. The pacing is smooth, leaving very few down moments for audiences to check their watches.
– This is certainly a test of two wills, one determined to protect her children and one determined to attain the biggest score of his criminal career, and it’s in that contrast where we understand the similarities between each respective position. The stakes are simply too rich for either side to back down, and that mentality sets the stage for the unstoppable force meeting the immovable object.
– Major kudos to casting director Nancy Nayor for easing the lines of believability with this identical youthful cast. There are very few instances when a Mother/Daughter casting has ever been this in-sync with appearance, as Union and daughter Jasmine (Played by Ajiona Alexus) look like they could’ve been separated at birth.
– The setting of this house is not only ideal in the amount of space that the many unfolding scenarios are granted, but also in establishing the isolated atmosphere needed in the quiet playing tricks on our sound. Much of the rules from within are set early on and followed through with completely, combining a technological spin to enhance the twists and turns.
– Beyond this film’s edge being tainted by its PG-13 rating, it feels like this film was shaped to form that rating from something much more adult-like. Besides violent scenes being cropped out of frame, there’s also a few terrible A.D.R deposits that clearly muffle out vulgarities in catering to a more inclusive audience rating.
– None of the confrontation sequences feel honest in depiction. Quick edits and tight angles offer very few chances to dissect what is taking place on screen, and these motions commute that the chemistry and choreography may have been lacking between two dance partners of brutality.
– There wasn’t one single performance that I could really hang my hat on, despite the fact that no one truly does a terrible job in their acting. Most of the problem revolves around this screenplay that doesn’t offer this talented cast much meat to sink their teeth into with their respective characters. Even the four antagonists in the film feel very generic when compared to other late 90’s B-movie survive-the-nights.
– I appreciated that the screenplay attempted to give us something more with the backstory history between Union and her father, but it never forms into anything of depth for our central antagonist’s conquering of adversity. Disappointingly, this entire subplot isn’t even touched upon after the few initial instances that do nothing but say this woman probably didn’t have the best relationship with her Father. It’s a missed opportunity in reaching the levels of a film like 2000’s ‘Panic Room’, that has a near identical plot.
– There is an odd final edit of the film, just before the credits. We get a long angle of the scenery, followed by a fade to black, and then nothing for a good twenty seconds before credits start rolling. Someone wasn’t paying attention to the sequencing involved with keeping the momentum inside of the conclusion.