Review Detail
8.5 14 10
Enjoyment
8.0
Many thanks for your take on “The Cell”. I am delighted that this film survived so many cuts (no pun intended, i assure). From a writing standpoint, it’s quite amazing that the romantic story thread could be stripped down so much and yet imho succeed in tempting us, the audience, with the ever elusive “what might have been”. Sometimes less can be more. Also, the additional Carl scenes easily heighten the tormented world of our antagonist. Finally, the question that begs to be asked is whether the main story thread has been truly satisfied?
At the film’s end, the scene between Catherine and Peter at the car is a little uncomfortable, but with good reason. In this edit, they opened up a little after she first resurfaced from Carl’s mind. Catherine clearly values honesty, sensitivity, and valiance, which Peter displayed to her. Then, the two share this strange, very personal experience in Carl’s mind. Both succumb to raw temptation in a landscape ruled not by intellect or logic but by emotion, possession. Having saved each other and returned to the real world, it makes sense that they would retain some of that desire; yet, considering where this desire had been born, the two characters must settle for an awkward hand shake. A kiss would have been absurd, having such little intimacy between them; and yet a simple professional handshake would not do either in light of their experience together. Would I dare to go so far as suggest the addition of very brief flirtatious look between them early when they first meet. Even a look shared by both may suggest to us they are remotely attracted to each other so as to give a little more weight to that tempted kiss and the inevitable handshake.
The additional Carl scenes easily heighten the tormented world of our antagonist, which increases our concern for our protagonists’ safety. If we are not absolutely horrified by Carl, then his threats to Catherine are empty. However, Catherine spends most of the film a victim. At some point, the power must be given back to those who are powerless (victimized). Crossbows are unnecessary.
What is to be done about Carl? His fate is tied into the main storyline. On one hand, Peter’s goal (and by association, Catherine’s as well) is to capture Carl and discover the whereabouts of Julia. This is accomplished. Catherine’s greater goal is for Edward to make progress in his treatement so he can resurface from his inner hiding place, which we get the inkling of at the film’s close. However, a secondary storyline is initiated by Catherine and Peter three quarters of the way through, which is Catherine’s promise to “young Carl” that she will come back for him. With this edit, that rescue plan is left at the moment of it’s introduction. I absolutely agree with the choice of cutting the final showdown with Carl in Catherine’s mind. The focus going back on Julia’s rescue is necessary after Peter’s revelation, and the re-edited sequence is very tight. My question is can Catherine’s promise be satisfied? If not, is the introduction of Catherine’s promise necessary in this edit? If the intention of the editor was to leave Carl’s fate up in the air, then this was realized. With Peter, Julia, Catherine, and Edward’s storylines wrapped up, this does leave something to be desired from the odd man out.
Thank you for your time and craft. The “Scary As Hell” brand is becoming quite synonymous with quality. Well done.
At the film’s end, the scene between Catherine and Peter at the car is a little uncomfortable, but with good reason. In this edit, they opened up a little after she first resurfaced from Carl’s mind. Catherine clearly values honesty, sensitivity, and valiance, which Peter displayed to her. Then, the two share this strange, very personal experience in Carl’s mind. Both succumb to raw temptation in a landscape ruled not by intellect or logic but by emotion, possession. Having saved each other and returned to the real world, it makes sense that they would retain some of that desire; yet, considering where this desire had been born, the two characters must settle for an awkward hand shake. A kiss would have been absurd, having such little intimacy between them; and yet a simple professional handshake would not do either in light of their experience together. Would I dare to go so far as suggest the addition of very brief flirtatious look between them early when they first meet. Even a look shared by both may suggest to us they are remotely attracted to each other so as to give a little more weight to that tempted kiss and the inevitable handshake.
The additional Carl scenes easily heighten the tormented world of our antagonist, which increases our concern for our protagonists’ safety. If we are not absolutely horrified by Carl, then his threats to Catherine are empty. However, Catherine spends most of the film a victim. At some point, the power must be given back to those who are powerless (victimized). Crossbows are unnecessary.
What is to be done about Carl? His fate is tied into the main storyline. On one hand, Peter’s goal (and by association, Catherine’s as well) is to capture Carl and discover the whereabouts of Julia. This is accomplished. Catherine’s greater goal is for Edward to make progress in his treatement so he can resurface from his inner hiding place, which we get the inkling of at the film’s close. However, a secondary storyline is initiated by Catherine and Peter three quarters of the way through, which is Catherine’s promise to “young Carl” that she will come back for him. With this edit, that rescue plan is left at the moment of it’s introduction. I absolutely agree with the choice of cutting the final showdown with Carl in Catherine’s mind. The focus going back on Julia’s rescue is necessary after Peter’s revelation, and the re-edited sequence is very tight. My question is can Catherine’s promise be satisfied? If not, is the introduction of Catherine’s promise necessary in this edit? If the intention of the editor was to leave Carl’s fate up in the air, then this was realized. With Peter, Julia, Catherine, and Edward’s storylines wrapped up, this does leave something to be desired from the odd man out.
Thank you for your time and craft. The “Scary As Hell” brand is becoming quite synonymous with quality. Well done.
L