"Oh joy, another privacy-invasion thriller". That was my first spontaneous thought when "The Gift" aired on television. I don't necessarily dislike the family-stalker concept, and it always remains somewhat unsettling and identifiable (because we all know someone we don't like but who doesn't get the subtle hints), but I've seen too many of these already and they are all quite predictable.
And that's exactly how "The Gift" starts out, too. Clichéd and derivative with sequences you have seen plenty of times before. You basically just keep watching for the performances. I've liked Jason Bateman since the very first minute of "Arrested Development", and he's probably the most suitable actor in contemporary Hollywood to depict a regular guy. Rebecca Hall's role, as the docile wife Robyn, is rather bland, but she's a good actress and makes the most of it. Writer/director Joel Edgerton also cast himself as the obtrusive and self-declared "friend of the family" who comes with undesired gifts and unwanted household help. Edgerton, as well, hits the exact right tone, since he's uncanny but not exaggeratedly psychotic.
But then something highly unusual and rarely before seen happens. The tables turn entirely. I'm not just talking about an unexpected plot twist, but a complete and fundamental change of how the viewer perceives the two lead characters. And, moreover, Edgerton's script gets away with it! Obviously, I can't (and do not want to) reveal too much about the plot's complete U-turn, but I personally found it dared, realistic, progressive and - oh yes - even a bit confronting. It's brutally honest, and it makes the film result in a sort of anti-climax, but nevertheless a very strong and thought-provoking one. The moral of the film? I guess it can most effectively be summarized with the great lyrics of the almighty Billy Joel's song "Honesty".
Honesty is such a lonely word Everyone is so untrue Honesty is hardly ever heard And mostly what I need from you
And that's exactly how "The Gift" starts out, too. Clichéd and derivative with sequences you have seen plenty of times before. You basically just keep watching for the performances. I've liked Jason Bateman since the very first minute of "Arrested Development", and he's probably the most suitable actor in contemporary Hollywood to depict a regular guy. Rebecca Hall's role, as the docile wife Robyn, is rather bland, but she's a good actress and makes the most of it. Writer/director Joel Edgerton also cast himself as the obtrusive and self-declared "friend of the family" who comes with undesired gifts and unwanted household help. Edgerton, as well, hits the exact right tone, since he's uncanny but not exaggeratedly psychotic.
But then something highly unusual and rarely before seen happens. The tables turn entirely. I'm not just talking about an unexpected plot twist, but a complete and fundamental change of how the viewer perceives the two lead characters. And, moreover, Edgerton's script gets away with it! Obviously, I can't (and do not want to) reveal too much about the plot's complete U-turn, but I personally found it dared, realistic, progressive and - oh yes - even a bit confronting. It's brutally honest, and it makes the film result in a sort of anti-climax, but nevertheless a very strong and thought-provoking one. The moral of the film? I guess it can most effectively be summarized with the great lyrics of the almighty Billy Joel's song "Honesty".
Honesty is such a lonely word Everyone is so untrue Honesty is hardly ever heard And mostly what I need from you