Director Gilles Paquet-Brenner’s adaptation of “Gone Girl”
author Gillian Flynn’s novel “Dark Places” takes its titular theme to
the hilt,
in a film that is as its title suggests unrelentingly dreary. Not that
it has much of a choice given the subject matter. A gothic Americana
mystery, “Dark Places” spans two timelines as it unravels
the truth behind one horrific crime. In the present, Libby Day (Charlize
Theron) is a traumatized adult shuffling aimlessly through life. Nearly
30
years since her mother and sisters were murdered and her brother was
convicted as their killer,
the leader of a sort of underground crime “fan club" approaches her. At
first they make a deal to pick her brain about what happened and then
they drop a bombshell. They believe her brother is innocent and they
want her help to prove it. From here the movie registers as a whodunit,
unwinding all of the lurid details that led up to the awful conclusion
with the promise of uncovering the real perpetrator.
True crime aficionados will have no trouble picking up on the various
ripped from the headline crimes that are interwoven throughout “Dark
Places”. As a
commentary on those real life events, it offers a viewpoint but not one
loud
enough to necessarily decipher. People’s paranoia of the unknown and
rush to
judgment of outsiders serves as the common thread for requisite
critique, which
is nothing groundbreaking though enduring in its relevance.
Casting turns out to be the movie’s most pivotal upswing and simultaneous downfall. Charlize Theron delivers a sturdy supporting performance, despite feeling entirely miscast as the big mouthed Libby. With Theron’s imposing physique it’s hard to accept Libby’s pathetic squawking as her only defense when she is physically threatened, as it’s obvious she could more than handle herself if given the chance. The casting for young Libby is similarly off the mark as she and Theron share no physical resemblance. Because of this and the strong likeness between the young actresses playing the Day sisters, it is next to impossible to keep track of which girl is supposed to be Libby in the 80's storyline.
Right off the bat, it’s clear that “Dark Places” suffers
from the same ailment that afflicted “Gone Girl”; the lead female
protagonist
is neither sympathetic nor compelling. Libby is a self-involved and
damaged
individual who’s spent her entire adult life profiting from her family’s
heinous demise. She’s also readily gone along with the idea of her
brother’s guilt and in all
of the time since he was convicted, she has not questioned it or wanted
to believe
otherwise. As the flashbacks begin to shed light on the prelude to the
unthinkable, her behavior in the present becomes more and more
disconcerting. In
the 80's, her older brother Ben (Tye Sheridan) appears to be a good kid
who’s kind
to his family. There’s no indication as to why adult Libby is so certain
of
his guilt. Her confidence makes her increasingly irritating to tolerate.
If the
inference is that she was brainwashed by a zealous prosecution, it more
than
misses the mark. She comes across too jaded to accept the word of any
authority
figure, so the idea that she would go along with whatever a person in
power
would implore her to say is hard to believe.
Where the present day falls apart with a lead character too
detestable to root for, “Dark Places” finds its footing in the past.
Fastidiously wading through the time before all hell broke loose;
Paquet-Brenner
brings the Day household into bold and tragic focus. The family’s
matriarch is
Patty - a single mom with the entire world on her shoulders, dealing
with
volatile assaults from all angles. Financial calamity brought on by the
80's farming crisis, a deadbeat ex-husband, a
precocious son slipping further under the influence of kids she does not
know
and a town gossip mill she cannot combat, has her proverbial lifeboat
taking in more water than she
could possibly bail. Patty’s struggle is heartbreaking and agonizing to
watch unfold. She's fighting
with everything she can to hold on for her kids and the world will not
let up on her. Adding to the tragic underpinnings is the present day
storyline
that shows her grown daughter reflecting upon her beleaguered mom with
zero
empathy or affection. See to Libby, there is and has been no greater
victim in the universe than
herself.
To his credit, Paquet-Brenner brings the 80's to life in a
way that is authentic and very much akin to how watching an old episode of
“Dateline” or “20/20” can be. It looks the part and uncomfortably feels it too. The music is loud, the kids
are angry and life is teeming with angst and economic uncertainty. The world is
looking on with fevered concern, as its youth spirals down uncharted territory.
Casting turns out to be the movie’s most pivotal upswing and simultaneous downfall. Charlize Theron delivers a sturdy supporting performance, despite feeling entirely miscast as the big mouthed Libby. With Theron’s imposing physique it’s hard to accept Libby’s pathetic squawking as her only defense when she is physically threatened, as it’s obvious she could more than handle herself if given the chance. The casting for young Libby is similarly off the mark as she and Theron share no physical resemblance. Because of this and the strong likeness between the young actresses playing the Day sisters, it is next to impossible to keep track of which girl is supposed to be Libby in the 80's storyline.
On the other hand, Tye Sheridan and Corey Stoll are well
matched counterparts for their character’s younger and older selves. Sheridan
once again proves why he’s one of Hollywood's current crop of young actors worth keeping an eye on in
the coming years. Still waters run deep and as he did in “Mud” and “Joe”,
Sheridan offers up a brilliant characterization of a troubled kid with
loads of
heart, you can’t help hoping will turn his life around. His performance
as Ben is
understated, genuine and real and his avoidance of big flowery emotion
pays off exponentially. As reliable as Sheridan has become, the most
unexpectedly remarkable
performances come from actresses Christina Hendricks and Chloe
Grace-Moretz.
Hendricks is nothing short of amazing as the worn out Patty. She
portrays her
helplessness and sorrow with a gravitas that is indelibly haunting.
While Grace-Moretz gives her best performance to date as
Ben’s wicked girlfriend Diondra. Grace-Moretz manages to walk the fine line
between bratty kid and beyond her years Lolita with a refinement that indicates
major performance strides. She’s never embodied a character to better effect.
There are no echoes of Hit-Girl or any of the other tough-girl teens she’s
played before in “Hick”, “Dark Shadows", “Laggies” etc. There’s
something more adult, assured and mature about her performance as Diondra that
hints at even better things to come from her as an actress.
The performances of its cast, grounds “Dark Places” as more
of a character study than a thriller. The storyline is grim,
disturbing, heavy and about as far away from a popcorn thriller as you
can get.
Writer/director Paquet-Brenner brings an unflinching glimpse to the
material,
packing it with the distractive assets of its cast to buoy a downer of a
story. The daunting scope of the tragedy that comprises the denouement
makes for an ending that is impossible to forget. Due to this, “Dark
Places” is a one-time watch kind of movie because it stays with you long
after the credits roll. Rating: 7.2/10