Directed By David M. Rosenthal
Starring – Michael Ealy, Jesse Williams, Joseph Sikora
The Plot – After his brother (Williams) returned home from war, Jacob Singer (Ealy) struggles to maintain his sanity. Plagued by hallucinations and flashbacks, Singer rapidly falls apart as the world and people around him morph and twist into disturbing images.
Rated R for adult language, some violence, sexuality and drug content
– Deviation from the original. If you have to give this movie credit for anything, know that it isn’t a plagiaristic rip-off of the original film that did every single aspect better by comparison. Aside from the names of the character’s being the same, the film does surprisingly take a refreshing direction in the form of the modern war on medicine, which allows it to stand on its own two feet of originality from an otherwise borrowed title. There were some measures taken in the film that I did enjoy, and with a little more time could’ve been properly fleshed out to convey its intentional message to the eyes and ears of the audience. In addition to this, the film is much better paced than the original “Jacob’s Ladder”, moving frequently throughout its 84 minute run time towards the twist that we’ve all been expecting. This quickness is rough on other aspects that I will get to later, but brings forth an easy one-sit watch that never stalls on the message it is conveying to its audience.
– Gifted duo. Ealy and Williams are sound in what they offer to the picture, despite a lack of characterization from Rosenthal that does no favors in fleshing out the hooks to their personalities. These two men are basically playing two sides of the character coin for the price of one performance, and their believability from post-war traumatic stress is only surpassed by the way their impeccable chemistry and near identical looks bring weight to the believability of the brotherly subplot. Ealy has always been an actor who I consider a secret weapon in Hollywood, despite appearing in some quite popular titles, but as the central protagonist, his grip on the constantly changing scenarios around him enhance the paranoia in trying to decipher what’s real, all the while bringing Michael’s soulful eyes to the surface to convey the fear.
– If there’s one constant theme throughout this screenplay, it’s the over-the-top nature in which every element of exposition is delivered. The dialogue flows about as naturally as an 80’s porno, the fantastical imagery feels forced even for monstrous visual transitions, and there’s certainly nothing subtle about the war subplot, which I easily predicted within a few minutes because a better movie did it already. At least in the original, we the audience could decipher the thin line between fantasy and reality, but here even the scenes that take place in the real world feel so convoluted to duplicate authenticity, and soon the entire film turns bored because too much is being repeated along the way.
– Cheap production values. Oh boy, where to start here? First of all, the handheld camera gimmick should only be used in action films to accentuate thunderous impact. Here, it depicts a sloppy mess that brings forth the idea of motion sickness with every movement in and out of frame. Secondly, the special effects in 2019 don’t even come close to matching the subtlety of the ones from 1990. Why is this? Well, this movie relies on them far too often, allowing them to lose their charm by the end of the first act, and they use the same facial filters that made “The Dark Tower” one of the biggest unintentional laughs of its respective year. Finally, the lighting in the film is intusively ugly to the point of scenes feeling like they took place on a green-screen. There is so much puke green tint throughout this film that I thought it was the Green Lantern sequel that Ryan Reynolds never wanted, and what’s even worse is that its consistency never allows it to shake itself free of the television style of production that ruins this film before it even gets its feet off of the ground.
– Changed setting. In the original film, the doom and gloom of the New York city landscape perfectly articulated the darkness from within Jacob’s double life, but the geographic change here to Atlanta does so little to establish its identity or importance within the story. The backdrops in the film reek of stage production, and offer nothing to distinguish itself as a one of a kind setting, instead of a film that easily could’ve been set anywhere if the film didn’t tell me in the opening that this is Atlanta. In addition to this, the war change from Vietnam to Iraq took away arguably the biggest benefactor to Jacob’s subconscious in Agent Orange, and now has to settle for a drug that this movie made up, that doesn’t even happen until soldiers return home. What Vietnam did was make everything believable. You could’ve told me that a character grew a third ear there, and I would’ve believed you because of so much uncertainty in the jungles of their countryside. With Iraq in this instance, far too much has to be explained, leaving an abundance of filling in the gaps that raises more questions than answered.
– Lack of scares. It’s not that there aren’t any attempts, but the ones that are reflect this “Goosebumps” flavor of chills that shouldn’t be even remotely scary to anyone who is able to pee anywhere but their pants. Thankfully, there are no jump scares, but this might be the case where some would’ve been appreciated, because this film in tone and lack of frights often forgets that it is a psychological HORROR movie. For my money, this is as close to an action movie as you can get, even resulting in a third act climax that results in two characters duking it out for survival. The original movie was filled with terrifying imagery in a subtly devilish way that inspired gaming franchises like “Silent Hill”, and rather than even attempt to master this creativity with the effects skills of today, this remake settles instead for the cliches that doom so many horror films in modern day.
– The mystery. Being that this is a “Jacob’s Ladder” movie, there is of course a twist in the third act that supposedly brings everything together, and while this twist is one that capably fills all of the holes in logic, it doesn’t escape the element of predictability, which was given to us long ago. I mentioned earlier that I figured everything out in this movie within the opening ten minutes, and what doesn’t help that fact is a series of clues and coincidences that all but write out on paper what will happen with every character and subplot. My biggest problem is the lack of punch that comes from the revelation as opposed to a first movie that was beautifully synchronized. There’s nothing even remotely compelling or cathartic about what this Jacob endures, and soon we come to understand that his only resolution is one that doesn’t benefit us the audience who have hung on this long in the hopes of closure. It’s an easy way out, and it feels like no one truly wins, a betrayal of the first film’s ending that made me tear up on first watch.
– Fumbling characterization. If we got to know our protagonists for a few minutes, then maybe we would invest in the heaviness of their respective conflicts, but nothing compels me to ever care slightly for one of them, and that has to do with them feeling like strangers even throughout 84 minutes of film. Jacob is our central protagonist, and one we spend the entirety of the movie with, but outside of the things that take place in the movie, I found out nothing about him for the things that happen off-screen. The one aspect we do learn deals with a romantic triangle that honestly doesn’t cast him in the greatest light when it comes to a man with strong family ideals. What did I find out about his girlfriend? Nothing. What did I find out about his brother besides he’s a war veteran? Nothing. These are the people you’re supposed to support and feel worried for when something bad happens to them.
– Disjointed storytelling. It’s important to distinguish what is intentional, and what is a result of sloppy editing. The entirety of this film is told on two respective timelines, so the disjointed nature of scenes feeling scrambled is one that will remain jumbled until the twist comes that fits them all into place. This is done to make us the audience feel the disorientation that Jacob Singer is feeling in the film, and I’m totally fine with that. What I’m not fine with are transitioning scenes the stunt the growth of the dialogue that is deposited, offering no time for audiences to ingest it as anything important by the necessary emphasis required to sell its purpose. Likewise, there were a couple of transitions in the movie where the next scene begins its dialogue while the previous one is still talking. It’s more of the amateur level of production that I mentioned earlier, but this one deserves its own column for how it limits the growth and potential of every scene, offering no bit of momentum to tease us for what is to follow.
– Faulty title. I have to be careful not to spoil this section. The title of this movie should only be there because this is a remake of a film that it is modernizing. My problem with the meaning within the title is that once you know the twist of this particular film, it doesn’t add up to the religious inspiration that Jacob’s Ladder refers to in the bible. Imagine if “The Breakfast Club” was remade, and in the new version the detention is actually done in the afternoon or evening, yet the title remains the same. Occasionally I complain about a title, but I try to save it for occasions when it really creates a problem when summarizing the film, and that is exactly the case here.
My Grade: 2/10 or F-