As if we didn't have enough ghostly little tales in the past few years (The Sixth Sense, Stir Of Echoes, etc.), another comes down the pike with an interesting twist - the main character doesn't see ghosts, but she definitely knows when people are going to die. The idea for the story supposedly based upon the psychic abilities of Virginia Faulkner Thornton (Billy Bob Thornton's mother - she predicted his Oscar win), `The Gift' is a trim little package of murder, trepidation and the supernatural, peppered with an all-star cast and crew of Oscar winners (Swank, Thornton) and nominees (Blanchett, Kinnear, Harris).
Annie Wilson (Blanchett) is a humble mother of three quietly making a living in fictional Brixton, GA off of social security from her husband's death and performing psychic readings for the townspeople. Her recitations consist of one burning taper and a bizarre deck of cards with various symbols (star, circle, wavy lines, etc.) printed on them. Her abilities as a clairvoyant are honest and true but (wouldn't you know it) Brixton is a backwoods community full of conservatives, skeptics and zealous Christians that believe the reserved widow is a practicing witch. One man in particular named Donnie Barksdale (Reeves) harbors a special hatred for Annie because his battered wife Valerie (Swank) has been visiting the psychic's home on a regular basis to receive readings. Donnie harasses Annie, making direct threats to her and her sons and even breaking into her home to creatively render the word `Satan' with her cosmic deck. When Jessica King, the aristocratic daughter (Holmes) of a Brixton bigwig, turns up missing Annie has a vision that will help the BPD locate her. She is at first snubbed by the chief of police for her marked reputation but when authorities finally take a chance on her, Jessica's body is found on Donnie Barksdale's property and he is immediately taken into custody for her murder. There's a bigger game afoot however, and Annie must single-handedly solve the mystery before the killer attempts to silence her permanently.
Blanchett does her best to look simultaneously frightened and determined as Annie, a woman who is against all odds. We already have proof of her abilities as a dramatic actress (Elizabeth, Paradise Road) and she is not disappointing here, sporting a decent Georgian accent and making her character human despite her inhuman abilities. Holmes looks too young for her role and it's hard to fathom the chemistry between the 22-year-old actress and her 38-year-old co-star Kinnear (my husband even remarked that she looked like a teenager wearing her mother's clothes). It's even more weird to see her sexing up `Office Space' yeeah-guy Gary Cole (who is 45) in a scene involving bathroom whoopie. I guess it's just another case of casting directors pitting a beautiful ingénue with a handsome fogey twice their age (a la Richard Gere/Winona Ryder, Bo Derek/Dudley Moore, etc.). Kinnear does an admirable job as Wayne Collins, but a project like this is too simple an undertaking for his acting skills; most likely it was a labor of love for him. Reeves actually manages to himself seem intimidating as Donnie Barksdale and Swank plays another dimwitted southerner minus the sexual identity crisis. Oscar nominee Rosemary Harris makes a brief appearance as Blanchett's intuitive grandmother.
Ribisi is the standout here as the erratic Buddy Cole, a man who is consistently on the precipice of a psychological meltdown. He is a blubbering, tearful mess one minute, hot-blooded and precarious the next. What is really compelling about Ribisi's performance is the inner turmoil divulged in his roan and expressive eyes. We know all we need to know about his character's struggle to stay sane simply by surveying his face. Not a lot of actors have the ability to embody their characters in this way and Ribisi is to be commended for making Buddy a dynamic and remarkable individual. Although he has yet to get the Academy's attention, the future looks incredibly bright for him and it's almost certain that he will become a hot commodity in the next few years.
`The Gift' delivers most of what it promises but sci-fi/horror fans will most likely be disappointed by its artsy approach (compliments of director Sam Raimi), its failure to scare the bejesus out of them (The Gift has MINOR scares) and its sad predictability. The story manages to point an accusing finger at everyone but about halfway through (or even sooner, depending how attentive one is) it's easy to identify the culprit. If you're looking for a semi-suspenseful flick with a distinct and talented cast, `The Gift' is an ideal and enjoyable rent.
Annie Wilson (Blanchett) is a humble mother of three quietly making a living in fictional Brixton, GA off of social security from her husband's death and performing psychic readings for the townspeople. Her recitations consist of one burning taper and a bizarre deck of cards with various symbols (star, circle, wavy lines, etc.) printed on them. Her abilities as a clairvoyant are honest and true but (wouldn't you know it) Brixton is a backwoods community full of conservatives, skeptics and zealous Christians that believe the reserved widow is a practicing witch. One man in particular named Donnie Barksdale (Reeves) harbors a special hatred for Annie because his battered wife Valerie (Swank) has been visiting the psychic's home on a regular basis to receive readings. Donnie harasses Annie, making direct threats to her and her sons and even breaking into her home to creatively render the word `Satan' with her cosmic deck. When Jessica King, the aristocratic daughter (Holmes) of a Brixton bigwig, turns up missing Annie has a vision that will help the BPD locate her. She is at first snubbed by the chief of police for her marked reputation but when authorities finally take a chance on her, Jessica's body is found on Donnie Barksdale's property and he is immediately taken into custody for her murder. There's a bigger game afoot however, and Annie must single-handedly solve the mystery before the killer attempts to silence her permanently.
Blanchett does her best to look simultaneously frightened and determined as Annie, a woman who is against all odds. We already have proof of her abilities as a dramatic actress (Elizabeth, Paradise Road) and she is not disappointing here, sporting a decent Georgian accent and making her character human despite her inhuman abilities. Holmes looks too young for her role and it's hard to fathom the chemistry between the 22-year-old actress and her 38-year-old co-star Kinnear (my husband even remarked that she looked like a teenager wearing her mother's clothes). It's even more weird to see her sexing up `Office Space' yeeah-guy Gary Cole (who is 45) in a scene involving bathroom whoopie. I guess it's just another case of casting directors pitting a beautiful ingénue with a handsome fogey twice their age (a la Richard Gere/Winona Ryder, Bo Derek/Dudley Moore, etc.). Kinnear does an admirable job as Wayne Collins, but a project like this is too simple an undertaking for his acting skills; most likely it was a labor of love for him. Reeves actually manages to himself seem intimidating as Donnie Barksdale and Swank plays another dimwitted southerner minus the sexual identity crisis. Oscar nominee Rosemary Harris makes a brief appearance as Blanchett's intuitive grandmother.
Ribisi is the standout here as the erratic Buddy Cole, a man who is consistently on the precipice of a psychological meltdown. He is a blubbering, tearful mess one minute, hot-blooded and precarious the next. What is really compelling about Ribisi's performance is the inner turmoil divulged in his roan and expressive eyes. We know all we need to know about his character's struggle to stay sane simply by surveying his face. Not a lot of actors have the ability to embody their characters in this way and Ribisi is to be commended for making Buddy a dynamic and remarkable individual. Although he has yet to get the Academy's attention, the future looks incredibly bright for him and it's almost certain that he will become a hot commodity in the next few years.
`The Gift' delivers most of what it promises but sci-fi/horror fans will most likely be disappointed by its artsy approach (compliments of director Sam Raimi), its failure to scare the bejesus out of them (The Gift has MINOR scares) and its sad predictability. The story manages to point an accusing finger at everyone but about halfway through (or even sooner, depending how attentive one is) it's easy to identify the culprit. If you're looking for a semi-suspenseful flick with a distinct and talented cast, `The Gift' is an ideal and enjoyable rent.