Sylvia is based on notes released five years ago by the writer's husband British poet Ted Hughes after 30 years of silence (Hughes died of cancer in 1998). They chronicle Sylvia's painful battle with depression frustration over her writing career and jealousy of husband Ted's accomplishments and suspected infidelities. The movie takes up Sylvia's life in 1955 two years after she first attempted suicide; now a seemingly recovered Cambridge student and Fulbright scholar her well-bred all-American beauty and deep intellect attract the notice of aspiring poet Ted Hughes. The two begin a fervent obsessive relationship getting married and having two children while struggling with money and advancing their respective careers. The higher Ted's star rises in the publishing industry however the harder it is for Sylvia to find her voice--losing herself in the shadow of his success she grows increasingly bitter and neurotic about her failures as well as the affairs she believed handsome Ted to be having. Reality or self-fulfilling prophecy? Hard to say but in 1962 Sylvia discovers Ted having a very real affair with their mutual friend so she moves to an apartment in London with the kids. In this tiny flat during one of the coldest winters on record Sylvia Plath begins a frenzied writing period and produces the work that will finally secure her place in the annals of famous women writers: the novel The Bell Jar and the poem Ariel among others. Unfortunately it is in this flat too that Sylvia Plath takes her own life six months later.
In the eponymous role Gwyneth Paltrow (who startlingly resembles Plath) demonstrates a profound empathy with and understanding of the writer who if you're to believe this movie didn't fully understand herself. Essaying a real-life brilliant proto-feminist poet who happens also to be near catatonically depressed is no easy feat but Paltrow takes a deep breath and dives right in delivering an Oscar-caliber performance that may be her best to date. Watch as she almost gaily describes her suicide attempts to an alarmed Ted as their rowboat is being dangerously pulled out to sea or her bizarre and discomfiting reaction during a dinner party as she imagines Ted's lust for another woman at the table. Sylvia seems normal on the outside but Paltrow gives us the barest hint of the demons lurking beneath her polished erudite exterior. As womanizing Ted Hughes a suitably arrogant (and indeed attractive--someone call MGM here's your next Bond) Daniel Craig (Road to Perdition) does what he can in a role limited mostly to reacting to Sylvia's idiosyncrasies until she drives him into another woman's arms; you do though get a sense that he loved her deeply and tolerated as much as he could.
Good as Paltrow is she's limited by director Christine Jeffs' (director of the New Zealand indie Rain) one-dimensional characterization of Sylvia that the writer's legacy of multilayered work belies. The love story takes a front seat to Sylvia's writing career and opinions on gender differences and family reducing Sylvia to a weepy morose soul whose overriding concern is where her husband is at all hours. While the beginning of the film gives you some hints as to Sylvia's mental state that plotline falls by the wayside except in terms of the effect her depression had on her feelings about Ted. Despite recurring scenes of her tortured writing there is scarce mention of Sylvia's work (her most well-known The Bell Jar gets fleeting reference) and regrettably very few lines of it are ever heard. By the end Jeffs seems to be veering toward the feminist opinion that Ted and his philandering created the mental state that drove Sylvia to kill herself. The director does a wonderful job though of setting the time and place with dreary grainy shots of rain-soaked 1960s England and a dead-on period look.
New York City detective Mike Reilly (Stephen Dorff) teams up with Department of Health researcher Terry Huston (Natascha McElhone) to investigate five bizarre deaths. Before long they discover that all the victims died exactly 48 hours after visiting the Web site feardotcom.com. The site itself looks amateurish with rapid-fire images of a strange doorway screaming faces torture tools and indiscernible grainy objects. Users log on to watch a twisted doctor perform autopsies on people--while they're still alive torturing his victims until they beg to be killed. The voyeurs must then interact with a mysterious woman who asks things like "Do you want to hurt me?" She challenges users to find her within two days--or die. Those who don't find her end up suffering whatever gruesome fate they fear most and--this is the best bit--it's brought on by some sort of evil force generated through the computer. Of course curiosity gets the better of them and Mike and Terry log on to the site only to find themselves embroiled in a supernatural violent fight for their lives. If this explanation made sense that's more than we can say for the plot of feardotcom.
Dorff is well cast as Mike Reilly a brash young city police detective whose curious nature gets him into trouble. But the character is too simplistic and underdeveloped to give Dorff much to do. Although we get a little more insight into McElhone's character Terry (we know she has a cat name Benny for example) there isn't much to like or dislike about her. Dorff and McElhone's characters strike up a sort of friendship as the film progresses but there isn't much chemistry between the actors. A couple of the creepier roles in the film are much more entertaining to watch especially Stephen Rea and Michael Sarrazin. Rea plays Alistair Pratt the twisted doctor whose torture victims provide feardotcom.com's "entertainment " while Sarrazin plays Frank Sykes a drunk and washed-up author. It's a shame these two didn't have more screen time.
Director William Malone explains in the production notes for the film that feardotcom offers both a scientific and spiritual explanation for what happens in the film and that it is ultimately up to moviegoers to decide which school of thought they subscribe to. But the film's storyline is so convoluted and contradictory that it's difficult to figure out what question the film is asking let alone find the answer. Even if nothing about the story--or the philosophical questions it purports to ask--makes sense the intense look of the film is enough to keep you watching. Malone bathes the film in murky blue tones and sunlight never even trickles in. Offices are dimly lit and apartments are always dank and dilapidated. It rains day and night. The weird flashes of images presented in this setting are graphic and disturbing making feardotcom a film for the strong of heart--and stomach.