Matthew McConaughey, Anne Hathaway, Jason Clarke, Djimon Hounsou, Jeremy Strong, Rafael Sayegh, Diane Lane
Availability on Theaters 25. January
Nothing is as it appears in Film Noir, a genre based on hidden motives and delayed revelations. Serenity an absurd thriller from the tropical island of writer and director Steven Knight, brings this principle to an absurd new extreme. To even call the film a noir means to become an accomplice to its deception. This is the kind of film that can easily be spoiled by a slip of the tongue whose entire reason for being is its curvaceous architecture – and the underlying concept is admittedly quite funny or will be for those who enjoy, guilty or otherwise in stories that raise big, obvious questions about the nature of reality. Although Serenity has a pleasingly high concept, it does not use it very effectively. You can make the viewers themselves detectives, so that we can solve a puzzle, or you can give up the charade early and just run with the premise that you have not hidden very carefully. It does not make much sense to do that either.
The surrounding area is a remote island called Plymouth, a cozy enclave where everyone knows everyone, in part because there is only one bar and nothing to do but fish, drink and screw. Where exactly is this seaport? It is not specified. Matthew McConaughey, a slightly unshaven Bogartian, is Baker Dill, a captain of the fishing boat who spends his days on the sea with tourists and his angry First Officer (Djimon Hounsou) and his often sleepless nights scooping bottles of rum or boots bump A local financier (Diane Lane). What really keeps Baker running is a crusade worthy of Ernest Hemingway: his sincere obsession with catching a fabled oversized tuna called Justice that tracks the island's collective imagination. Maybe it's just a way to save the time he has been fighting in Iraq, or other aspects of his troubled, mysterious past.
This past does not remain mysterious for long. In fact, it comes in the form of Karen Zariakas (Anne Hathaway), his ex-wife and high school lover, right in Baker's life. Karen left Baker when he changed his name to wealthy Frank (Jason Clarke), who turned out to be a violent, sadistic fool over time. Now, decades later, she returned with a proposal: $ 10 million in cash to get her second husband on the water and leave him there. Her real bargain chip is not the money, but Patrick (Rafael Sayegh), the son she had with Baker a long time ago, whom he still sees in his dreams and talks to him in his loneliest moments. Patrick is now an ingenious genius escaping his stepfather's tantrums by hanging out in his room and disappearing into his own time-obsessive obsession with computer games.
This is the point where anyone who passes by will ever pass by. Familiarity with stories of unfortunate fellows being told by desperate ladies in murder plans will begin to ask questions , Is Karen telling the whole truth or is she looking for a Patsy? (Hathaway holds her cards close to her chest and offers a blend of cunning and vulnerability that every good Femme Fatale should own.) But Serenity has the superficial shape (and warm weather) of a body Heat it's obviously something else; Immediately after the jump, the movie begs for deeper mistrust, like a murderer who accidentally spilled evidence on his way out of a crime scene. What's up with the milquetoast, slightly outlandish salesman (Jeremy Strong) who is racing on the periphery of the story? And how is it that all Baker encounters know more than they should, what's going on in their lives? Even the style of the film, which is characterized by eye-catching camera pans and stuttering camera pans, is loose and threatens to let cats out of their pockets.
As a scriptwriter, Knight has attempted in Noir (see: his Oscar-nominated screenplay) for Dirty Pretty Things ) as well as tricky puzzles of identity over the covert spy games of Eastern Promises and Allied . But Serenity is perhaps closest to his mentally superior Locke . Like this one-man show, it often plays like a glorified exercise. In his honor, Knight occasionally finds pleasure in dealing with the conventions of his adopted genre: the shadows cast by revolving ceiling fans, the slits of narrow light streaming in through almost closed blinds, the hard-nosed pattern of his dialogue. ("Just waiting for some things at home to lose their meaning," Baker says to his ex-and if nothing else, the Lincoln speaker who plays him knows how to make a meal out of the worn lines.) That the whole thing is hard Cliché actually makes some sense, considering what's really going on. That probably says too much.
Many writers feel the need to deconstruct the principles of storytelling at some point. Serenity could be termed an attempt to move under the hood of the drama itself to tinker with all the moving parts. In practice, it's a crazy idea looking for a movie, and Knight also abuses it, shows his hand too soon, and gets the feel of discovery by literally shooting a minor character out of his big bomb. Even if McConaughey sweats profusely through the revelations, the film never attacks the true existential horror of its premise, the way … Well, even if you make a comparison, Knight's game would give up. In the end Serenity only deepens your appreciation for other films – the "real" noirs that deceive it, and the jigsaw box-makers who at least understand that good bauble is a terrible thing to waste ,