Following a brief history lesson and one of the most asinine opening sequences in recent movie history it becomes apparent that four friends--Caleb (Steven Strait) Pogue (Taylor Kitsch) Reid (Toby Hemingway) and Tyler (Chace Crawford)--possess superhuman powers. In fact the four share an unbreakable bond: Direct descendants of the original settlers of Ipswich Colony during the Salem witch trials of the late 1600s they all inherited their ancestors’ supernatural powers. When they turn 18 they “ascend ” gaining even more potent--but addictive--powers. With Caleb’s 18th just days away his mother (Wendy Crewson) worries about him because each time a magical power is put to use the user ages prematurely and the powers are addictive. But with his girlfriend (Laura Ramsey) in grave danger and an outsider (Sebastian Stan) threatening to infringe on the group’s sacred name and ancestry will Caleb be able to resist? Well it’s official: If you want to break into acting looks are everything. If you look fresh out of the pages of an Abercrombie & Fitch catalog you can act--even if you can’t act! The guys in The Covenant might not be quite that bad but the acting’s just not pretty especially compared to these dudes (it’s a backhanded compliment!). Strait (Undiscovered) Covenant’s resident movie veteran with five films under his belt absolutely has enough Abercrombie in him to warrant infinite chances to get it right but he makes Keanu Reeves look like Robin Williams--or a snail like a cheetah. The rest of the actors tend to overact where Strait underacts. Kitsch a bottle beefcake with one hell of an ironic last name and Hemingway (an equally ironic last name) both seem to think they’re in some throwaway teen horror flick instead of a throwaway supernatural thriller. And the other relative newcomer Stan comes close to decency but undoes his good towards the end. Uwe Boll gets a lot of flak for his films but how ‘bout throwing some hate Renny Harlin’s way?! Harlin has the ability to be a good director--as evidenced on Die Hard 2 and Cliffhanger--but that ability has been M.I.A. for over a decade. Fresh off 2004’s clunkeriffic duo of Exorcist: The Beginning and Mindhunters (the latter not being released until last year) Harlin has unfortunately added to his canon o’ crap with The Covenant. Though not nearly as much his fault as it is the actors’ the film remains a directorial mess no thanks to the muddled script from The Forsaken writer J.S. Cardone. Despite the characters trying to spell the story out for us it’s still somewhat hazy and its brief moments of clarity provide little to enjoy. Nice cinematography allows for scarce fun but such scenes turn the movie into an underwhelming Matrix/Underworld hybrid in place of an actual mystery. All in all some teenagers might appreciate the thrills and the loud music but fans of the occult surely won’t.
As dean of a small college Coleman Silk (Anthony Hopkins) has made a nice life for himself--until a false accusation of racism ruins his career and he loses his wife to a brain aneurysm. Suddenly Coleman has nothing--until he embarks on an intensely sexual relationship with Faunia Farley (Nicole Kidman) a local woman with an abusive ex-husband Lester (Ed Harris) who won't leave her alone. The intensity of Coleman's love for Faunia leads him to reveal his long-held secret: He has been passing himself off as Jewish and white for most of his adult life but in reality he is a light-skinned African-American. From there a series of flashbacks to the 1940s introduce us to a younger love-struck Coleman (Wentworth Miller) and reveal the events that led him to his fateful decision. Somehow Coleman's deep dark secret isn't as shocking as it's probably meant to be but the relationship between Faunia and Coleman is--especially when it slips into the danger zone with Lester breathing down their necks.
Wentworth Miller who makes his film debut as the younger Coleman does an amazing job with his role establishing Coleman's quiet yet fierce determination to live a life free of intolerance. And as ever Hopkins is the consummate professional with flashes of intense passion and brilliance in his steely eyes. One does have to get over the fact that a Welsh actor has been cast as an elderly light-skinned African-American but if Hopkins can give nuance to a declaration of how Viagra has changed his character's life (ick) he can pull off the race thing easily enough. Kidman as the dour Faunia also has some stunning moments easily sinking to the depressive depths required of her character--not surprising considering she won the Oscar doing the same thing in The Hours. What really makes you clench your teeth though is when the two of them get together on screen--in the biblical sense. These Oscar winners are so sorely miscast as tortured lovebirds that their sexual moments make you squirm in your seat. It's not the age difference; there's simply no spark between them.
"We leave a stain a trail and imprint " Philip Roth writes in his novel the third in a trilogy on postwar America. "It's the only way to be here." The author goes on to explore myriad themes around this main premise including how we leave our marks how our decisions have consequences and how people can find one another under the direst circumstances. Unfortunately these big ideas get lost in translation on the big screen and the film suffers from adaptation blues. Director Robert Benton and screenwriter Nicholas Meyer gives Roth's ideas voice only through Nathan Zuckerman (Gary Sinise) the reclusive author Coleman asks to write his life story and even that artistic character talks more about how sex is clouding Coleman's judgment than about his own life or ideology. Ultimately Meyer focuses his script too heavily on the guarded Coleman leaving the other characters too little developed. Why has Nathan secluded himself away from the world? What haunts him? Sinise does what he can with the character but there's too little background. The same goes for Faunia. Although she describes in one monologue after another the horrors of her life--she was abused as a girl and lost her two children in a terrible fire--Faunia's hardships seem distant and it's hard to connect with her character. Only the wounded Lester a Vietnam veteran seems made of real emotions and desires--he's filled with hatred and passion--and if he makes only a brief appearance in the film he certainly leaves a mark.