FBI agent Wesley Doyle (Powers Boothe) is cold on the trail of Texas' notorious "God's Hand" serial killer until he's paid a mysterious call by solemn Fenton Meiks (Matthew McConaughey). It seems Meiks could bust the case wide open--he declares that "God's Hand"'s handiwork is that of his brother Adam and he's got a long and complicated tale to tell that'll explain it. Doyle's ears perk up and he and Meiks embark on a trip to the rose garden where Meiks claims Adam buried his victims and then killed himself. On the way Meiks reveals his gory story. It involves the boys' kindly father (Bill Paxton) who was a sensitive caring man--until he went insane one day claiming God had chosen him and his family to kill all the "demons" that inhabit Earth disguised as real people like their neighbors. Dad regularly makes a list and checks it twice for all the demon folk he needs to exterminate on any given Sunday but he's not on this holy mission alone--his sons are "God's hands" as well and together they must hunt down the demons and destroy them. In a weird variation on Cain and Abel 12-year-old Fenton rebels against Dad (killing others isn't exactly his idea of a fun after-school activity) while little brother Adam is happy to join in.
Because the movie is told mostly in flashback McConaughey is relegated mostly to voiceover and a few present-day scenes in which he acts frighteningly morose and gives the sense that there's more to his story than first meets the eye. Because most of the story takes place in 1979 the boys are the ones who really make this film work. Fenton the younger (Matthew O'Leary) is a real find--he clearly struggles with his love for his father whom he knows has gone over the edge and his repulsion for the deeds Dad is determined to have the family carry out. Wrestling with his own demons he finally is able to settle on a solution for how to stop the horror. Little Adam (Jeremy Sumpter) is quite good as the innocent youngster who adores his dad and hangs on his every word seeking only his approval and refusing to believe he has lost his mind. Paxton effectively bridges the transitions between gentle loving father and insane murderer insisting the boys finish all their veggies and revealing his next victim in one breath. He's like those killers on the news about whom people say "But…he was such a nice quiet guy." The performance almost verges on funny if it weren't so horrific.
Paxton makes an auspicious directing debut with this tight little movie keeping the action going and the plot flowing and letting you completely get to know the characters as they exist in their own eras. He deftly avoids choppy flashbacks and the potentially confusing story is perfectly clear yet no less gripping. The killing scenes are absolutely squirm-in-your-seat nightmarish but thankfully we don't see all the grisly details as with so many slasher flicks. Instead we're shown everything right up to the point of death and we're spared the splattering blood and guts. It's just enough to make you cringe and cover your eyes and ultimately far worse to imagine the outcome than to see it all in special effects and makeup. Frailty is also scarier than the typical slasher flick bloodfest--it's way more frightening to imagine the nice guy next door committing such crimes than a made-up character wearing a hockey mask or razors on his gloves. The movie also comes up with a startling twist that you don't see coming right away. But--without revealing too much--the movie falls apart at the end with some enormous problems. Sometimes directors try to explain too much; we won't so we'll just leave it at that.
October 19, 2001 5:57am EST
The film opens with prison warden Colonel Winter (Robert Redford) greeting the highly respected General Irwin (James Gandolfini) at the start of his 10-year sentence for disobeying a presidential order. When they meet Irwin makes a snide remark about Winter--a non combatant--proudly showcasing military trinkets and memorabilia in his office. The comment instantly touches off a power war between the two which ends with Irwin threatening to take over the prison and flying the American flag upside down--a symbol that the castle has fallen. Winter rises to the challenge and the two begin their strategic plotting. Irwin wins the respect of his fellow inmates in an overly drawn scene where he is forced to carry large stones from one pile to another in the prison courtyard and forms an army of inmates using clichéd chess tactics to demonstrate his assault plans. Winter meanwhile watches from his cozy office overlooking the courtyard as if he was watching a reality series on a big-screen TV.
The highly regarded General Irwin is a simple solemn type which unfortunately is what is fundamentally wrong with the film. While Redford does the brooding thing quite well the script never calls for him to do anything more than that. James Gandolfini takes on the role of prison warden Colonel Winter with fitting simplicity. He accentuates Winter's dumb-thug persona by over-enunciating his words and speaking in an unnaturally slow manner. Redford and Gandolfini both churn out great performances but it would have been more rewarding had the script called for their characters to be more well-rounded. Steve Burton plays Winter's right hand man Captain Peretz convincingly considering what few lines he has. His body language facial expressions and dialogue manage to convey his character's thoughts even when his lines don't.
Directed by Rod Lurie (The Contender) The Last Castle is a well-paced story without a dull moment. It concludes with a dramatic and exciting climax but the problem is it's just too simple. While it's easy to get caught up in the story it's hard to buy how easily the inmates are able to take control of such a heavily guarded maximum-security prison. Using cafeteria trays as shields is one thing but hurling stones using a giant catapult that somehow went unnoticed by prison security is hard to swallow. So is the fact that these inmates a group of hardened criminals cooperate so easily with hardly any friction. While it could have been a very emotional story it fails because the characters are one-dimensional and never really explored including the two main characters played by Redford and Gandolfini. One is a great strategist and the other draconian but viewers are left to guess why and how they got that way.
Supermom Claire (Michelle Pfeiffer) and her geneticist husband Norman (Harrison Ford) are adapting to their only daughter's departure to college when Claire begins sensing an unearthly presence in the couple's lakeside Vermont dream home. Is she losing her marbles or is that the spirit of a beautiful young woman she keeps glimpsing? To say any more (as the too-explicit ad campaign does) would spoil some delicious twists.
The toplining Ford is his usual solid self in a role that plays cleverly on his familiar persona but the picture is Pfeiffer's from beginning to end. She delivers one of her most pleasing performances nicely disarming audience doubts about the story's supernatural elements with some judicious eye-rolling and embarrassed frowning -- her character is so painfully aware that what she's saying sounds crazy how can we possibly doubt her? Among the low-key supporting cast Joe Morton ("Terminator 2") stands out as an amiably down-to-earth psychiatrist.
Robert Zemeckis ("Forrest Gump") takes Clark Gregg's highly derivative haunted house script and pours on the Hitchcockian visual flourishes unapologetically pilfering from the Master's "Rear Window" and "Psycho " among others. His extended homage results in scene after scene of almost unbearable tension as the audience waits for the next shock. There's some clunky storytelling in the first section but the all-suspense second half more than makes up for it with some classic work including what seems destined to go down in movie history as "the bathtub scene."