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reVIEW (37)
THE SKELETON KEY
Iain Softley’s The Skeleton Key is the story of Caroline Ellis (Kate Hudson), a caregiver who, disillusioned with her job at a New Orleans hospice, finds work through the classified ads at a rambling antebellum home in the Louisiana swamps, caring for Ben Devereaux (the impeccable John Hurt), who apparently suffered a stroke in the home’s attic.
Cue strange goings-on, and bang, we’re right in the middle of the latest Hollywood offering where things go bump in the night, and the audience is expected to scream shrilly and jump in their seats.
Now, to be fair, The Skeleton Key is far from horrible. It’s evident what Ehren Kruger (who also penned the scripts for the terribly flawed Arlington Road and Scream 3, as well as those of the English-language remakes, The Ring—which was disappointing—and The Ring Two—which was brilliant) wanted to do in The Skeleton Key, and the effort is admirable, though the story’s pacing could have done with a little more tightening, a problem also evident in Kruger’s script for The Ring.
Even though the question “So if that was the whole point of the exercise, why didn’t all this happen as early as Day 1?” is answered neatly and effectively by the film’s climax, the plot still manages to leisurely stroll through a languid Louisiana afternoon, when it should be walking at an ever-increasing clip (then breaking out into a good old-fashioned run for dear life) through alligator-infested swamps.
As with The Ring, the sense of a threat lurking ever closer doesn’t come completely through.
On the plus side though, as I said earlier, Kruger’s effort is admirable. Yes, there are ghosts (of a sort) in this tale of terror, but they are thankfully not of the recent Hollywood variety, rotting and moldering, yet still managing to look very slick and oh-so-MTV, all jerky and quick-cut.
And there is an attempt to mask the truth of the final reveal (you may or may not figure it out, in its bits or its entirety, depending on how involved you allow yourself to be, and how shrewdly observant you are), which turns out to be a whole lot more effective than some of the more recent Hollywood horror efforts like Hide and Seek.
It also helps that it isn’t painful to watch Kate Hudson, who, though not an exceptional actress, still manages to avoid the sort of performance one gets from a Julia Roberts or a Sandra Bullock. Caroline also just has enough psychological baggage to make her more than the usual one-dimensional cutout that sometimes populates this sort of film. And, as I said, John Hurt is impeccable. (The last time anyone made the most of what could potentially have been a non-role was when Glenn Close did the coma thing as Sunny von Bulow in Barbet Schroeder’s astounding Reversal of Fortune.) Additionally, Gena Rowlands is also effective as the prickly Violet Devereaux, Ben’s wife.
Sadly, though Iain Softley’s direction is certainly not flat, it still does not quite attain the level needed for the audience to actually feel, taste, and smell the locale, the kind of level that produces atmosphere, that makes us feel the cloying humidity of Louisiana; the kind of level achieved by Alan Parker in Angel Heart, or Paul Schrader in his remake of Cat People.
If memory serves me right, it was Schrader who said that he decided to set his redux of Cat People in New Orleans because it was the sort of city where strange things could be believed to be possible.
And yes, we are treated to certain facets of hoodoo, enough to make us shiver a bit, but far from enough to actually leave us marked, or, to use hoodoo parlance, “crossed.” So it’s sad that the setting isn’t fully exploited, given the eerie richness of New Orleans and the surrounding bayou country.
Ultimately, The Skeleton Key (like Softley’s “is Kevin Spacey an alien or not” effort, K-PAX) is a film that clearly wanted to be something a little off the beaten track, but in the end, turned out flawed and vaguely dissatisfying.
Still, though The Skeleton Key may not open all of its doors satisfactorily enough for the discriminating viewer, it is nonetheless an interesting space in which to move around.
(The Skeleton Key OS courtesy of impawards.com.)
(The above is a slightly altered version of a previously published review entitled “That Hoodoo That You Do.”)
THE SKELETON KEY
Iain Softley’s The Skeleton Key is the story of Caroline Ellis (Kate Hudson), a caregiver who, disillusioned with her job at a New Orleans hospice, finds work through the classified ads at a rambling antebellum home in the Louisiana swamps, caring for Ben Devereaux (the impeccable John Hurt), who apparently suffered a stroke in the home’s attic.
Cue strange goings-on, and bang, we’re right in the middle of the latest Hollywood offering where things go bump in the night, and the audience is expected to scream shrilly and jump in their seats.
Now, to be fair, The Skeleton Key is far from horrible. It’s evident what Ehren Kruger (who also penned the scripts for the terribly flawed Arlington Road and Scream 3, as well as those of the English-language remakes, The Ring—which was disappointing—and The Ring Two—which was brilliant) wanted to do in The Skeleton Key, and the effort is admirable, though the story’s pacing could have done with a little more tightening, a problem also evident in Kruger’s script for The Ring.
Even though the question “So if that was the whole point of the exercise, why didn’t all this happen as early as Day 1?” is answered neatly and effectively by the film’s climax, the plot still manages to leisurely stroll through a languid Louisiana afternoon, when it should be walking at an ever-increasing clip (then breaking out into a good old-fashioned run for dear life) through alligator-infested swamps.
As with The Ring, the sense of a threat lurking ever closer doesn’t come completely through.
On the plus side though, as I said earlier, Kruger’s effort is admirable. Yes, there are ghosts (of a sort) in this tale of terror, but they are thankfully not of the recent Hollywood variety, rotting and moldering, yet still managing to look very slick and oh-so-MTV, all jerky and quick-cut.
And there is an attempt to mask the truth of the final reveal (you may or may not figure it out, in its bits or its entirety, depending on how involved you allow yourself to be, and how shrewdly observant you are), which turns out to be a whole lot more effective than some of the more recent Hollywood horror efforts like Hide and Seek.
It also helps that it isn’t painful to watch Kate Hudson, who, though not an exceptional actress, still manages to avoid the sort of performance one gets from a Julia Roberts or a Sandra Bullock. Caroline also just has enough psychological baggage to make her more than the usual one-dimensional cutout that sometimes populates this sort of film. And, as I said, John Hurt is impeccable. (The last time anyone made the most of what could potentially have been a non-role was when Glenn Close did the coma thing as Sunny von Bulow in Barbet Schroeder’s astounding Reversal of Fortune.) Additionally, Gena Rowlands is also effective as the prickly Violet Devereaux, Ben’s wife.
Sadly, though Iain Softley’s direction is certainly not flat, it still does not quite attain the level needed for the audience to actually feel, taste, and smell the locale, the kind of level that produces atmosphere, that makes us feel the cloying humidity of Louisiana; the kind of level achieved by Alan Parker in Angel Heart, or Paul Schrader in his remake of Cat People.
If memory serves me right, it was Schrader who said that he decided to set his redux of Cat People in New Orleans because it was the sort of city where strange things could be believed to be possible.
And yes, we are treated to certain facets of hoodoo, enough to make us shiver a bit, but far from enough to actually leave us marked, or, to use hoodoo parlance, “crossed.” So it’s sad that the setting isn’t fully exploited, given the eerie richness of New Orleans and the surrounding bayou country.
Ultimately, The Skeleton Key (like Softley’s “is Kevin Spacey an alien or not” effort, K-PAX) is a film that clearly wanted to be something a little off the beaten track, but in the end, turned out flawed and vaguely dissatisfying.
Still, though The Skeleton Key may not open all of its doors satisfactorily enough for the discriminating viewer, it is nonetheless an interesting space in which to move around.
(The Skeleton Key OS courtesy of impawards.com.)
(The above is a slightly altered version of a previously published review entitled “That Hoodoo That You Do.”)
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