Directed By Robert Zemeckis
Starring – Steve Carell, Leslie Mann, Diane Kruger
The Plot – When a devastating attack shatters Mark Hogancamp (Carell) and wipes away all memories, no one expected recovery. Putting together pieces from his old and new life, Mark meticulously creates a wondrous town where he can heal and be heroic. As he builds an astonishing art installation, a testament to the most powerful women he knows, through his fantasy world, he draws strength to triumph in the real one.
Rated PG-13 for sequences of fantasy violence, some disturbing images, brief suggestive content, thematic material and adult language
– Vibrancy in art design. While nothing original in terms of its production specifics, the animation in the film free-flows the beauty and attention to detail of a doll’s aesthetics. The actors film these scenes in live action, and in post-production are given a plastic shine filter to emulate them as acting dolls against a live action backdrop. In addition, the lighting of these scenes are beautiful, conjuring up a soft gloss of light that reflects on the smooth plastic exterior of their physical properties. You can say a lot of things about this film, but lacking in the art department will never be one of them.
– Steve Carell dazzles once again. The screenplay does this man zero favors in making his character look presentable to the audience, yet the constant professionalism of one of the strongest dramatic forces working today constantly elevates the material and gives light to another transformative performance. In Carell’s Hogancamp, we taste humor, some anguish, and a lot of fragility, and it’s in the masking of the last term where we really outline a layer of empathy to the character, making his a story of redemption that we are constantly investing ourselves in. Steve delivers a lot of heart for the real life figure, and that commitment to the ball of nerves that dominate his daily routine is something that only an actor of this magnitude can pull off without it feeling humorous every time.
– Believable setting. The boundaries of Mark’s real life town inside of Kingston, New York are tightly shot, preserving that air of a small town quality where everyone knows everything going on. This not only explains why Mark’s situation is the discussion of so many people surrounding him, but also a news broadcast that clues us in on what’s taking place with the men who jumped and beat him down during one fateful night. This is an area of filmmaking that is often overlooked for whatever reason, but in keeping our filming locations limited, and the framing tight, it accurately presents that air of claustrophobia inside of a small town.
– Musical miscues. Besides these obvious tracks feeling distracting during the scenes in which they play because of their boisterous volume levels, the overall soundtrack for the film is riddled in such topical convenience for what is playing out on-screen. An example is a sleeping sequence that is being enveloped by The Everly Brothers “Dream” playing out in the most eye-rolling manner. It made for these times of musical incorporation that I dreaded hearing from, and made me wish the remainder of the film was a silent one from the roaring 20’s.
– Cluttered dialogue. There’s nothing subtle or nuanced about the dialogue in the film. From force-feeding of backstories, to obvious metaphorical representations, this film constantly reeked of desperation, and progressed little because of how much explanation it was required to give for the past. Because of such, it feels like two movies are playing out in real time: one for the current narrative, and the one in which the movie has to stop every two minutes to explain something we see in real time or hear about on the news. Who knew in 2018 that biopics can still be this clumsily written?
– Lack of sensitivity for the subject matter. Hogancamp’s story is one that is plagued by mental illness, depression, and especially abuse, and the screenplay tiptoes around these subjects so as not to make anything under Zimeckis’ roof feel risque. For Mark himself, the movie approaches him as this bumbling infant who is part compassionate and part creepy for the demeanor he exerts on others. An example of this is his interaction with Leslie Mann’s character, in which he describes how he collects women’s essences. Keep in mind that all of this is out of Mann’s context, as she just moved to the town, and would otherwise come across as a serial killer who is obsessed with her likeness. In addition, the conflict of mental illness is cleaned up in such a way that is not only insulting to someone like me who has fought his own battles with such adversities, but irresponsible for how easy it is eventually defeated.
– The “Sucker Punch” effect. Zach Snyder’s 2011 fantasy epic is the last film that I ever thought or ever wanted to reference again, but it feels like Zimeckis has watched this film one too many times in his rendering of this project. The fantasy sequences often take far too long to reach their point. As well, they also dominate the time allowance over the live action narrative in a two-to-one ratio, taking far too much focus away from Mark’s confining circumstance. There’s almost too much optimism in a story that should otherwise feel so dark, and I’m not naive enough for a second to believe that the answer to both films conflicts resonate somewhere in the fantasy world. Seriously, fuck you.
– Disjointed continuity. Some character dynamics are dropped and never referenced again, some female doll likenesses are never explained or introduced at all, and some scenes are so miniscule in importance that they were better left on the cutting room floor. It all pressures the pacing of the film into some dire consequences that make 111 minutes feel like three hours of burning wax torture. The main problem is that these scenes never allow themselves to pick up any kind of relative momentum, instead feeling like a collection of instances that don’t gel together as one cohesive unit that is otherwise building towards the bigger picture.
– A talented cast that is completely wasted. Besides what I mentioned earlier about the work of Carell as the film’s central protagonist, the entirety of the female cast is shipped in and shipped off in such a way that makes their value that of their wax counterparts. There just simply isn’t enough time to donate to all of them, so inevitably someone is going to get sacrificed, and the pendulum swings more on Mann and Janelle Monae than anyone else. Mann is Mark’s love interest, and aside from them intentionally lacking chemistry despite Mann and Carell doing three films together, the development constantly feels rushed and unnatural in the way it flows, limiting the film’s one redeeming quality in such a way that gives us the audience nothing to look forward to from the predictably bland third act that comes to fruition.
– Pretentiousness rears its ugly head again. While this isn’t the most pretentious film of 2018 thanks to Lars Von Trier’s “The House That Jack Built”, it does more than its share of Zimeckis referencing to drown out the immersion of the film. I won’t spoil all of them, but I would be doing you a disservice if I didn’t mention that the Doloreon from “Back to the Future” is prominently featured in the dynamic of an important scene, midway through the final act. Why is this included? Because one of the doll’s require a time machine, and we obviously can’t think of anything other than Robert’s biggest franchise when it comes to that distinction. It stinks of desperation, and emits an air of pretentious filmmaking that reminds us that Zimeckis is leaps and bounds from where he once was.
My Grade: 3/10 or F+