David Callaway (Robert De Niro) is having a tough time dealing with the apparent suicide of his wife (Amy Irving). His young daughter Emily (Dakota Fanning) also has taken her mother's death very hard retreating into her own little world. As a psychologist David decides the only way to help Emily is to move from the big city to a house in the country. Sure that kind of thing usually works like a charm. Emily does perk up a bit when she finds a new "friend " Charlie who likes to have fun and play hide and seek with her. Of course we can't actually see this new friend but that's beside the point. The imaginary Charlie is still a powerful force in Emily's life instructing her not to talk about him much and hating pretty much everyone else in her life including her dad. In short order bad things start happening--yes the family pet gets whacked--which Emily blames on Charlie. This leaves David wondering how his little girl could have turned so psychotic. But wait. Maybe Charlie isn't imaginary after all but actually a flesh-and-blood malevolent presence. Oh god do you think so?
Why you may ask would an acting icon like Robert De Niro star of such classic movies as Raging Bull and Goodfellas choose such a cheesy film as Hide and Seek? Very good question. Maybe he was drawn into the project based on the premise like the rest of us without realizing how derivative the story would get as things progressed. Of course De Niro plays the confused father--dealing with what could possibly be a demonic child--with a fair amount of finesse. But he's a pro that's what he does. Fanning (I Am Sam) too does the best she can as the sunken-eyed pasty-faced Emily. She sulks around rarely smiles and draws scary pictures of people dying horrible deaths which has now become a prerequisite for any child in a scary movie. In the supporting roles Elisabeth Shue Famke Janssen and Dylan Baker are all pretty much wasted. Shue who hasn't acted in anything major since 2000's Hollow Man makes a brief appearance as a potential paramour for David. Janssen (X-Men) playing David's colleague and Emily's confidante thinks living in isolation is a bad idea (and she's right!). Veteran character actor Baker (Kinsey) takes on the predictable role of the hapless town sheriff who never quite gets he's about to be in a world of hurt.
It is always disappointing when the promise of something potentially creepy turns out to possess the same old tired plot points and scare tactics seen countless times before. Director John Polson--best known for helming Swimfan another predictable stalker-gone-mad thriller--and novice screenwriter Ari Schlossberg don't have the necessary skills to take Hide and Seek above and beyond its conventional trappings. To its small credit the film does build a bit of tension in the beginning as David and Emily skirt around each other trying to grasp onto some kind of normalcy. Then when Emily introduces Charlie you continue to hold out hope that somehow the filmmakers will channel some of M. Night Shyamalan's aura and start really scaring the bejesus out of you. But alas it isn't meant to be. Instead you're sitting there pretty much guessing every move the film is going to make before it happens. When the twist finally comes around--you knew there was a twist right?--it doesn't really surprise you whether you've guess it or not.
Hardened by years of brutal but loyal military service special ops officer Robert Scott (Val Kilmer) is assigned to find the president's apparently kidnapped daughter Laura Newton (Kristen Bell). Pairing up with his protégé Curtis (Derek Luke) Scott works diligently with a task force of presidential advisors the Secret Service the FBI and the CIA to find her and through their investigation they stumble upon a white slavery ring in the Middle East which may--or may not--have some connection to Laura's disappearance. The straightforward search-and-rescue mission is soon bogged down in political machinations and the girl's abduction starts to look even more suspicious than it did at first. In fact the mission comes to an abrupt halt altogether when the girl is supposedly found drowned from a boating accident. Scott returns to his quiet life until Curtis shows up and proves that Laura is still alive and most likely trapped in the white slavery ring. In a race against time Scott and Curtis embark on their own unofficial rescue mission--and put themselves at the center of a dangerous conspiracy that goes all the way to the top of the U.S. government.
Val Kilmer probably won't be joining Mamet's dedicated circle of players--which includes Joe Mantegna William H. Macy and Mamet's wife actress Rebecca Pidgeon--any time soon. While it's clear Kilmer took the role to work with the talented writer/director he isn't well suited to deliver "Mamet-speak"--the rapid fire delivery of terse dialogue the writer is known for--and Kilmer looks uncomfortable trying to do it. The gifted actor who can't help but bring in his own quirky sensibilities to the part still hits the nail on the head as steely resolute Scott. But the minute he starts dispensing sage advice--Mamet-style--Kilmer sticks out like a sore thumb. Same goes for Luke (Antwone Fisher) who is entirely miscast as Scott's sidekick. Others in the ensemble however handle the Mamet chores more adeptly including Macy and Ed O'Neill (yes the guy from TV's Married ... With Children) as presidential aides.
Spartan's real problem however is that it's a thriller without much thrill. Mamet's expertise is in creating scenarios within a microcosm whether it's a world of con artists (House of Games; The Spanish Prisoner) salesmen (Glengarry Glen Ross) or even showbiz (State and Main). These Mamet films are even-keeled--almost devoid of emotion. He sets up characters and actions relevant to that particular world so when characters spout lines in Mamet's distinctive style it comes off as perfectly natural. Yet with Spartan Mamet is tackling a bigger grander picture and when his style is applied to the world as a whole it doesn't work. Plus in the thriller genre the audience needs to feel invested in the characters and Mamet's distant unemotional style doesn't lend itself to sending the audience's collective hearts racing. The only poignant moment in the film belongs to Bell as the wounded daughter who just wants a little attention from Daddy and the only truly exciting moments are during her rescue. That said however Spartan proves Mamet still knows how to craft a story. Although the script is at times vague and convoluted it thankfully never falls into any of the genre's usual patterns and it throws in enough twists to keep you on your toes.