Weekly Review -- I against I

The Broken (2008) -- There are not too many films that can shock, scare or even unnerve viewers nowadays. Considering the world that we live in, it is no wonder that many are on the cusp of being desensitized, moving forward in a jaded state of neutrality while texting their bleary eyes out.

Consider then Sean Ellis's The Broken as a film that can turn your perspective on life upside down. Dark, ominous and haunting, it is a fascinating genre piece, as well as a thoughtful and intriguing identity study.

London radiologist Gina McVey (Lena Headey) is attending her father John's (Richard Jenkins) birthday party. During dinner, a mirror shatters, prompting obligatory 'seven years of bad luck' jokes. Soon afterward, Gina sees a woman driving by, one whose resemblance to Gina goes beyond passing. Stunned by her apparent doppelgänger and witnessing other oddities occurring, Gina needs to unravel the mystery as soon as possible...

One of the most striking aspects of The Broken is its aesthetics. Angus Hudson's gorgeous cinematography utilizes monochromes to their full effect, inserting merely a sliver of color here and there. This London is not for the faint of heart. It is an alienating dystopia where strangers remain strangers, streets are barren and steely blues alternate into merciless greys. The visuals tie in seamlessly with the themes of fear and desolation, letting us in yet keeping us out, pulling us in while allowing us to doubt if we want to get too close. Hudson and Ellis play with our perceptions of reality like few director-cinematographer teams do, constantly surprising us and making us guess as to what upheaval is coming up next.

With its stark visuals and timely themes, The Broken is reminiscent of Kiyoshi Kurosawa's 2001 techno warning Pulse, which laid bare the cold core of technology and its isolating impact on human beings. Contrary to Kurosawa, Ellis uses the urban atmosphere to equate modern city living with limits of identity. When it comes to inhabiting cities that thrive on expansion and growth, do we lose ourselves as individuals with the passage of time? Can a sense of community ever develop within this environment or are we destined to be alone? One of the reasons why breaking a mirror causes the infamous seven years of bad luck is that the soul, which regenerates every seven years, shatters with the mirror. Mirrors have been associated with negative traits for centuries, from Narcissus's sad fate to Dorian Gray's doom to Veronica Roth's "Divergent" Abnegation faction members, discouraged from checking their reflections for more than a few seconds. Indeed, do we not lose pieces of our souls if our reflections become our only companions and if we are not able to share our existence with others on a deeper level, beyond occasional gatherings? Gina does not seem to have much of a social life and does not seem too happy with her boyfriend. We could argue that they are beginning to lose themselves as the shapes that they have been molded into -- workaholics in a milieu that distances people through its affinity for exile.    

The cast is impressive. Headey carries the film impeccably, injecting Gina with a unique mix of logic, disbelief and apprehension. The character's evolution is chilling and Headey has the raw emotion to pull it off. Jenkins's portrayal of John is poignant, while Melvil Poupaud has a good turn and very disturbing arc as Stefan, Gina's boyfriend. 

The Broken achieves something that few films are capable of. It makes the viewer think about it for days and weeks to come by having us walk into its labyrinth, getting us lost and, thankfully, not letting us leave that easily. If you are looking for the cinematic equivalent of a puzzle, see this extraordinary film. Do not expect to solve it and do expect the unexpected. Be prepared to contemplate and be prepared to want to see it again.      

Just remember -- be careful with those mirrors...

9/10

Trailerblazing -- The Space Between Us/Morgan

The Space Between Us -- December 21, 2016 -- directed by Peter Chelsom -- starring Asa Butterfield, Britt Robertson, Gary Oldman, Carla Gugino, BD Wong

Enchanting to say the least, this tale is a throwback to adventure films of yesteryear, where innocence and surprises went hand in hand. The story of a boy who travels to Earth from his native Mars in search of his crush is a story of underdogs, curiosity and discovery. It is one of those films that I wish had been based on a novel and, if we are lucky, we might get a screenplay novelization with even more detail. Yes, I know that I am getting ahead of myself, but the trailer looks wondrous and reminds me of what the underwhelming The Martian should have been. The cast that includes Gary Oldman and BD Wong is fantastic and many of the scenes are truly original -- just check out the horse sequence! We need more films like this one, those that look at the world with hope and optimism and are not saddled with dark cynicism; there is enough of that in the news every day. I am eagerly awaiting August.

Morgan -- September 2, 2016 -- directed by Luke Scott -- starring Rose Leslie, Kate Mara, Anya Taylor-Joy, Paul Giamatti, Boyd Holbrook, Toby Jones

Does this film look like Ex Machina 2.0 or what??? When I first read the plot, I could not help but think of the earlier work and I can see from various message boards that I am not the only one. The trailer is effective, what with ominous bits of dialogue hinting at Morgan's origin and power, and the marketing campaign is capitalizing on the mystery. Morgan seems like an organic life form, but, if she is, I certainly hope that that this is not the only difference between the two films. The cast is solid; still, I am not sure if the horror element and apparent suspense can make Morgan a hit. It does have the potential to be a sleeper if some unique, never-before-seen twists are employed. Based on what I have seen, it needs a whole lot to distinguish it from Alex Garland's film and, after Ex Machina's success, it is hard to tell if audiences will accept a story that is so similar.

Trailerblazing -- Equals

Equals -- May 26, 2016 -- directed by Drake Doremus -- starring Kristen Stewart, Nicholas Hoult, Guy Pearce, Jacki Weaver

Living in an emotionless future is a bad prospect indeed. Just ask Nia and Silas, Kristen Stewart and Nicholas Hoult's love-stricken characters from Drake Doremus's latest film. Better yet, ask John Preston from Equilibrium, Kurt Wimmer's underrated 2002 actioner that Equals seems to be liberally borrowing from. I am going to save my final judgment for the actual product, but I can say that the trailers for these two works look virtually identical, give or take a sequence or two. While Wimmer's film focused on the protagonist's journey instead of a forbidden romance, Doremus's story is almost the same and the aesthetics are indistinguishable; hell, even the title is similar. It is obvious from the hauntingly evocative Breathe In that Doremus has a knack for mapping emotions in any situation, so I am hoping that there are depths to Equals that the trailer is not showing. In terms of themes and style, though, the film apparently shows nothing that has not been seen before. The cast is good, but it remains to be seen if they can elevate the material. I cannot conclude without the Equilibrium trailer, just for kicks. Seek it out and enjoy.