Film Review “Clinical” (2017) #NetflixReview

a bit lazy … [but] nonetheless riveting and tense

originally posted here at moviereviewsblog.com

A psychiatrist, who suffered a violent attack by one of her disturbed patients, tries to piece her life back together by finding new meaning — helping a new patient, but he has his own dark history to contend with. But is this case too much too soon for our Dr. Jane Mathis?

Clinical has two stories running in parallel, that of the horrifying attack Dr. Jane Mathis (Vinessa Shaw) suffered at the hands of her patient Nora (India Eisley), and that of her current patient Alex (Kevin Rahm) who suffered horrific disfigurement during one awful night. This structure works well.

Dr. Jane Mathis’ boyfriend Miles isn’t particularly believably played by Aaron Stanford. Sure, Stanford has little screen time and few lines to work with, but I never bought into their relationship; Vinessa Shaw, for her part, gives a believable performance. In fact, Miles and best friend Clara (Sydney Tamiia Poitier) seem to be there just to make up the numbers, add tension, help plot points and just, because, ya know, we need to have a boyfriend and bestfriend in these type of films to be menaced by murder and / or actually murdered. A bit tacked-on and underdeveloped.

A little bit lazy in places — shrink who’s on drugs herself, lots of glasses of wine, etc. — and underdeveloped in others — why should we even care about the fates of her boyfriend and best friend? — this film is nonetheless riveting and tense throughout. The ultimate assessment of whether this film makes the cut or not really depends on your opinion of the two parallel storylines, that of Nora and Alex, and the interrelation between these plot threads. If you feel that the two threads work nicely together, then you’ll like this film; if you feel that the two threads have been stuck together, then you’ll feel a bit frustrated. As for me, I think it all works quite well.

Worth a watch, but no classic.

3/5

© 2021-2022 Bryan A. J. Parry

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Look Away (2018) Review

Maria (India Eisley) is a quirky and lonely teenager, bullied and suffering a barely-fleshed out eating disorder, her only friend is merely using Maria as a personal side-kick and as a kind of depressive foil to make herself look good. A depressed mother (Mira Sorvino) and a philandering plastic surgeon father (Jason Isaacs) make home life equally unbearable. But everything changes when Maria looks in the mirror to see that her reflection is alive. The reflection is called Airam (because, ya know — I mean, work it out for yourself!) and claims to have Maria’s best interests at heart. But does she/it really? Things take a turn for the dark when they swap places.

There’s no real tension regarding who or what the reflection is, the very first shot of the movie spells it out: Airam is Maria’s twin sister who died at birth. There also isn’t any real tension to the way Airam gets justice for Maria. Justice would be served, and I would just go, “Oh, okay, so that’s happened, I guess.” There felt like minimal pay-off. There could have been a slow build-up to key scenes of “justice”, there could have been a creepier tension built between Maria and Airam. Jason Isaacs does steal the movie, however, with his off-kilter and complex portrayal. The film missed another pay-off with certain revelations regarding Airam’s true fate/identity; this twist was shocking, but I was more shocked at how poorly the film played this strong card. There’s an awkward aggressively sexual scene between Maria and her Dad, but this, too, felt like it could have gone in a more interesting direction.

This was an entertaining film, but it kept me wondering why they didn’t explore the concept more. What happens to Maria when she’s in the mirror? Is there a whole other dark world in there, like ours but the opposite? Or is it happy and light, making her not want to come back while Airam is unhappy in Maria’s world? Why wasn’t justice performed more ironically; for example, why was Maria’s school tormenter not, despite having a secret crush on her, punished in a way fitting his relationship with Maria? He just gets kyboshed. And why isn’t Maria made to be more likable? Self-deprecating sense of humour, perhaps. An interesting hobby, maybe. She’s just pathetic and characterless.

Nice idea, some good acting, an entertaining albeit mindless way to spend 103 minutes, but devoid of tension. A Horror-thriller without much of either. The ending also felt incomplete. This film is a wasted opportunity.

2/5

© 2020 Bryan A. J. Parry

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Netflix Film Review: Nanny Cam [SPOILERS!!!] @thefilmreview @KermodeMovie #NannyCam @Laura_AllenLA @IndiaEisley1029 @MKnightShyamalan

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Nanny Cam is the tale of two parents, Linda and Mark Kessler (played by Laura Allen and Cam Gigandet), working impossible hours and struggling to raise their child. Downsize to just the two bedrooms, or find a nanny to raise their child for them? This is USA!, buddy; you know what the answer’s gotta be!

Unfortunately, super-nannies are hard to come by. But just as our young capitalists might have to consider no longer over-reaching themselves, in steps the too-good-to-be-true Heather (India Eisley) who is snapped right up. This being a film, and not real life, it turns out — oh plot twist of plot twists! — that the new nanny is too-good-to-be-true! In fact, she’s a possessive nutter hell-bent on wrecking the Kesslers’ perfect family.

Her evil behaviour, such as encouraging the daughter to funnel her creative energies into literature instead of the mother’s treasured violin (seriously), lead our couple to do what any couple would do: badly hide CCTV cameras all over the house and secretly watch literally nothing evil happen. This of course prompts the nanny to do what every jealous nanny would do in retaliation: drug the husband, in full view of camera, and ride him like a bull at the rodeo.

The plot twists come thick and fast. And the reason for Heather’s behaviour is the type of twisted genius that would make 2015 M. Knight Shyamalan cry with awe and envy, but 1999 M. Knight Shyamalan just cry.

The movie has a workable if not very original idea. It merely isn’t very well-made. I’m not sure if the actors are third-rate or whether they are just embarrassed to be taking part (which is my suspicion); either way, unconvincing lines are unconvincingly performed. Everything that’s wrong with the film can be summed up by its twist ending.

Femme fatale nanny on the coach after having made her daring (impossible?) get-away. Doddery old codger toodles up to her and says, ‘Excuse me, I hope I’m not bothering you. But he is so beautiful.’ Reveal: small new-born baby next to femme fatale. ‘Thank you. He’s called Mark. He’s named after his father’.

Why spoon-feed the audience? We’re not idiots. Just have her sat on the coach, quietly content, and then reveal the baby. We’ll put two and two together. And if you really must have the old codger dialogue (for whatever reason), just have our tempress say, ‘He’s called Mark’. Again, we’ll know that the husband is called Mark and this is likely his child. Don’t take a sledgehammer to the walnut and finish it with, ‘He’s named after his father’.

Dodgy acting, some unnatural and flabby film-school writing, this film is a mediocre realisation of an okay idea. At least Laura Allen is beautiful to look at — who would be tempted by the puppy fat of India Eisley, anyway!?

2/5

© 2015 Bryan A. J. Parry

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