There is only one reason to purchase a ticket to take in Dreamworks' new feature, "Things we lost in the fire": Benicio Del Toro!
From the moment he saunters on the screen, in this Halle Berre vehicle, every fibre of his being resonates; in essence, his performance is a work of art - a revelation!
In this overly-long drama, he inhabits the persona of an addict with such remarkable precision - and insightful, almost intuitive imaginings - that one sits mesmerized in the theatre spellbound, riveted by each gesture, nuance, and facial expression.
Essentially, the tale is about a woman, Berre - perhaps, more on this later - who loses her husband in a senseless killing and her subsequent struggle to regain her momentum once again in life...
Enter, Del Toro, a lifelong friend of her husband, who arrives at the funeral somewhat disheveled, but coherent.
On the verge of recovery, with monumental problems of his own, he sets aside his own yearnings in a concerted effort to not only heal her wounds, but give much-needed guidance to her two young children, struggling in the wake of the tragedy.
But, conflicts - some needless, others realistic - rear their ugly head, and interfere.
Suddenly, the stress of an unexpected confrontation sends Del Toro's character headlong into a relapse and straight back to the gritty back alleys, where desperate users burn their bridges and seek solace in a forlorn "shooting gallery", off-the-beaten track.
At this juncture, the film shifts gear full throttle, and focuses on Jerry's efforts to come clean.
That is one of the major problems with the film...
When the opening scenes for "Things we lost in the fire" unfold, for a moment or two, the audience is under the impression the tale is about Ms. Berre's character.
But wait, as flashbacks spin out on the screen, it suddenly appears that we're mistaken; perhaps the drama is all about her husband, played by David Duchovny (who phones in his role), and some deep dark secret?
When it appears the film is gaining footing, and forging ahead in some logical direction, suddenly - "Fire" shifts a gear - then puts the spotlight on the children and their erupting, emotional problems.
Essentially, the audience is confused at this point; after all, the scripted tale is spreading out in all directions, without any center or focus...like a ship, without a rudder.
The Director, Susanne Bier, must have been a still photographer in a former incarnation, because on this project...she needlessly lingers on intense, up-close eyeball shots, and frames half-lit faces - yes, evoking moods, but without making any coherent sense.
Frankly, this filmgoer couldn't fathom what she was up to...
Ha!
When I start to pay tribute to the furniture, I know someone is in trouble.
How would I sort out this mish-mash mess of a film?
Well, for starters, flashbacks of Duchovny would be kept to a minimum.
In addition, I'd bestow a respectful period of mourning...then, move on.
In my version of "Things we lost in the fire", the lens would zero in on Del Toro's addiction, and Barre's altruistic efforts to help him come clean - in loving memory of her husband, perhaps?
In its current skin, the audience can only pray that everything goes up in flames again...and, that Del Toro is the lone survivor - well, maybe with the kids in tow, too.
Halle, what were you thinking when you signed on for this project?
No Oscar buzz here, for you...
For Benecio, yes!
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