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Movie Review
Identity
By Lee Tistaert Published April 26, 2003
US Release: April 25, 2003
Directed by: James Mangold
Starring: John Cusack , Ray Liotta , Amanda Peet , Alfred Molina
R
Running Time: 90 minutes
Domestic Box Office: $51,700,000
Directed by: James Mangold
Starring: John Cusack , Ray Liotta , Amanda Peet , Alfred Molina
R
Running Time: 90 minutes
Domestic Box Office: $51,700,000
B
10 of 132
Grabs the audience and doesn?t let go
Besides from the pulsating frustration that was brewing from thy nerves as I was walking out of the theater (more so because I was having a hard time putting together some pieces), I was met with a simple exclamation: "Wow!"
The easiest way to review Identity could be to point the reader in the appropriate thinking mode. But then again, that can be considered spoiling and a movie like this works best when the viewer knows next to nothing. Such makes critiquing the flick a hard one, as really, the good reviewers will be those who don?t spoil and that means walking the path of the film without theoretically walking on it. What I can say is this: moviegoers who make it to the end after all the intense thinking will not just be grateful to finally discover the story?s secrets, but the madness that results from the viewer is how some of it may have slipped by ever-so-easily.
Identity is the type of flick that grabs the audience and doesn?t let go. Confusion will topple on top of more confusion, adding to an experience that will likely make heads explode from attempting to make sense of it all. The film plays like a 1,000-piece puzzle one?s expected to put together in 90 minutes time; it?s probably very difficult to match up every piece in the given time span, but you can still have fun with it. The movie is a cross between a whodunit and a horror adventure where we?re constantly wondering if there?s an added presence around that we should know about; and what we?d also like to know is that if it?s true, then who the hell is it? The dark areas are, well, dark, and we?d be relieved if they weren?t; but what would the fun in that be?
Where to begin. There?s a bad storm; a group of strangers are brought to a lonely motel after a series of on-the-road accidents and current floods make their traveling beyond the said point implausible. Once there, the strangers are booked rooms; one by one, each customer is discovered dead; questions by both the characters and the viewer are given birth to a rapid extent, with the solution an aggravating component to figure out. But as a moviegoer or reviewer, one must realize that if finding the solution is so strenuous yet you are still asking the questions, then surely the ride has worked on you.
Identity revolves around a script that takes the audience on a wild ride of perplexity and mayhem. The real killer lies in the fact that the script knows the secrets already, and is being told to us as if we don?t. But then again, that?s the real treasure of a script that is filled with twists and turns; after all, we know what we?re looking for is there somewhere, but we don?t know what to look for exactly. The experience is like trying to come to a destination without a map to guide; you just have to play with it and experiment with what comes along before the donning or the realization can take place. Movies as such can be frustrating but in a very entertaining standpoint, as it can be stressful to examine what pieces fit but when they finally do there is a fine reward for at least attempting the puzzle.
Identity is a thriller that could?ve had plot holes the size of Texas, but instead screenwriter Michael Cooney has constructed a world where its principles add up and the turnout creates an effect on the viewer that can easily spawn "Damn it!" reactions from not picking some things up. To be honest I saw an element of the twist coming for most of the duration, but in a very subtle way and not to the point of drawing direct conclusions; it more so got me in a frame of mind, even if I didn?t entirely solve it.
A la Phone Booth (B+), Identity has its actors/characters remain in one general station for most of the screen time, and it works. The functionalism comes from the actors making us believe the realism of the moment, as well as the slick direction by James Mangold. He inserts the right level of mood and sometimes killer suspense that will lead many shaking in their chairs asking, "Are you going to make me jump, or are you just playing with me?" Indeed, there were a few moments throughout where the silence had me tense like no other; and though I only jumped once, the audience was occasionally going nuts (with screams).
Identity is told a bit like The Ring (A-) in that there?s a big mystery to solve and we barely even know the factors of which we?re expected to observe in reaction. With Ring, the story was practically told backwards in terms of the facts being introduced to the viewer, forcing the audience to constantly be on the same page as the protagonist. In that film, direction was top notch and while an edge of the acting (in supporting parts) lacked a bit of inspiration, the ride as a whole delivered one hell of an eerie tale that forced guessing the end to be an exhausting effort.
Identity?s script doesn?t permit as heavy attention in the ways of directorial intensity, but there was still adequate amount of room for tricks and tactics to be layered. The story is rather slow but the curiosity of what we do not know has us move forward, and that?s where the flick survives. The acting, while good and maybe mediocre in some areas (with certain members), isn?t as refined as in The Ring and some incidents don?t come off as absurd in the Gore Verbinski project.
However, the insertion of absurdity within Identity's concept is almost acceptable, as due to what the characters have dealt with up to certain points we can nearly understand the reactions of which they?d give to other mishaps. Mayhem and the absurdity builds, but what was once out-of-the-blue can eventually feel almost expected.
Identity won?t be a film that pleases everyone, as the viewer can be tricked and such is not a frequently admired part of moviegoing. But on the other hand, anyone who stumbles into the theater auditorium should already hold knowledge that not all is what it seems, as there will barely be a trailer, television commercial, or film review that doesn?t throw out the simple note to watch out for the rug-pulling. And for anybody, avoiding those media outlets is sometimes impossible.
Nevertheless, Identity does what the majority of films don?t; it engages due to the unknown, makes you think hard even if you may not get to the right destinations, and walking out it reminds you how fun these experiences can be. As in the end, it?s more than just a film; it?s a film that influences (and maybe even forces) you to discuss it afterward. And like any great hike into the genre, it can persuade you to go again.
The easiest way to review Identity could be to point the reader in the appropriate thinking mode. But then again, that can be considered spoiling and a movie like this works best when the viewer knows next to nothing. Such makes critiquing the flick a hard one, as really, the good reviewers will be those who don?t spoil and that means walking the path of the film without theoretically walking on it. What I can say is this: moviegoers who make it to the end after all the intense thinking will not just be grateful to finally discover the story?s secrets, but the madness that results from the viewer is how some of it may have slipped by ever-so-easily.
Identity is the type of flick that grabs the audience and doesn?t let go. Confusion will topple on top of more confusion, adding to an experience that will likely make heads explode from attempting to make sense of it all. The film plays like a 1,000-piece puzzle one?s expected to put together in 90 minutes time; it?s probably very difficult to match up every piece in the given time span, but you can still have fun with it. The movie is a cross between a whodunit and a horror adventure where we?re constantly wondering if there?s an added presence around that we should know about; and what we?d also like to know is that if it?s true, then who the hell is it? The dark areas are, well, dark, and we?d be relieved if they weren?t; but what would the fun in that be?
Where to begin. There?s a bad storm; a group of strangers are brought to a lonely motel after a series of on-the-road accidents and current floods make their traveling beyond the said point implausible. Once there, the strangers are booked rooms; one by one, each customer is discovered dead; questions by both the characters and the viewer are given birth to a rapid extent, with the solution an aggravating component to figure out. But as a moviegoer or reviewer, one must realize that if finding the solution is so strenuous yet you are still asking the questions, then surely the ride has worked on you.
Identity revolves around a script that takes the audience on a wild ride of perplexity and mayhem. The real killer lies in the fact that the script knows the secrets already, and is being told to us as if we don?t. But then again, that?s the real treasure of a script that is filled with twists and turns; after all, we know what we?re looking for is there somewhere, but we don?t know what to look for exactly. The experience is like trying to come to a destination without a map to guide; you just have to play with it and experiment with what comes along before the donning or the realization can take place. Movies as such can be frustrating but in a very entertaining standpoint, as it can be stressful to examine what pieces fit but when they finally do there is a fine reward for at least attempting the puzzle.
Identity is a thriller that could?ve had plot holes the size of Texas, but instead screenwriter Michael Cooney has constructed a world where its principles add up and the turnout creates an effect on the viewer that can easily spawn "Damn it!" reactions from not picking some things up. To be honest I saw an element of the twist coming for most of the duration, but in a very subtle way and not to the point of drawing direct conclusions; it more so got me in a frame of mind, even if I didn?t entirely solve it.
A la Phone Booth (B+), Identity has its actors/characters remain in one general station for most of the screen time, and it works. The functionalism comes from the actors making us believe the realism of the moment, as well as the slick direction by James Mangold. He inserts the right level of mood and sometimes killer suspense that will lead many shaking in their chairs asking, "Are you going to make me jump, or are you just playing with me?" Indeed, there were a few moments throughout where the silence had me tense like no other; and though I only jumped once, the audience was occasionally going nuts (with screams).
Identity is told a bit like The Ring (A-) in that there?s a big mystery to solve and we barely even know the factors of which we?re expected to observe in reaction. With Ring, the story was practically told backwards in terms of the facts being introduced to the viewer, forcing the audience to constantly be on the same page as the protagonist. In that film, direction was top notch and while an edge of the acting (in supporting parts) lacked a bit of inspiration, the ride as a whole delivered one hell of an eerie tale that forced guessing the end to be an exhausting effort.
Identity?s script doesn?t permit as heavy attention in the ways of directorial intensity, but there was still adequate amount of room for tricks and tactics to be layered. The story is rather slow but the curiosity of what we do not know has us move forward, and that?s where the flick survives. The acting, while good and maybe mediocre in some areas (with certain members), isn?t as refined as in The Ring and some incidents don?t come off as absurd in the Gore Verbinski project.
However, the insertion of absurdity within Identity's concept is almost acceptable, as due to what the characters have dealt with up to certain points we can nearly understand the reactions of which they?d give to other mishaps. Mayhem and the absurdity builds, but what was once out-of-the-blue can eventually feel almost expected.
Identity won?t be a film that pleases everyone, as the viewer can be tricked and such is not a frequently admired part of moviegoing. But on the other hand, anyone who stumbles into the theater auditorium should already hold knowledge that not all is what it seems, as there will barely be a trailer, television commercial, or film review that doesn?t throw out the simple note to watch out for the rug-pulling. And for anybody, avoiding those media outlets is sometimes impossible.
Nevertheless, Identity does what the majority of films don?t; it engages due to the unknown, makes you think hard even if you may not get to the right destinations, and walking out it reminds you how fun these experiences can be. As in the end, it?s more than just a film; it?s a film that influences (and maybe even forces) you to discuss it afterward. And like any great hike into the genre, it can persuade you to go again.
Lee's Grade: B
Ranked #10 of 132 between Old School (#9) and Matchstick Men (#11) for 2003 movies.
Ranked #10 of 132 between Old School (#9) and Matchstick Men (#11) for 2003 movies.
Lee's Overall Grading: 3025 graded movies
| A | 0.4% | |
| B | 30.0% | |
| C | 61.7% | |
| D | 8.0% | |
| F | 0.0% |
