Not Coming to a Theater Near You

The Lookout / USA / 2007

Scott Frank’s film sustains far more interest while establishing its parameters, assembling its characters, and crafting its procedures than it does while executing the operation that it has been promising within its opening moments. In fact it feels as if Frank followed the advice of one of his characters (Jeff Daniels does solid work as a blind side-kick/mentor named Lewis) and started with a routine ending and then worked agonizingly hard to complicate the route his audience must take to get to the inevitable destination. Based on previous reviews of the film and Frank’s past work, I was expecting another intricate plot, but the entire scheme is fairly straightforward, if not rather ordinary, when the viewer steps back to evaluate the design.

Perhaps what’s most dispiriting about Frank’s latest film is that its conclusion partially relies upon chance. Though such a flimsy narrative might not be unexpected considering some of Frank’s previous scripts (Minority Report, anyone?), it’s a bit more disappointing in this instance since he exercised a considerable degree of control over this project. However, once one is able to look past the script it’s also apparent that Frank does a respectable job juggling his other duties as director, most notably in capturing another striking performance from Joseph Gordon-Levitt, who is quickly demonstrating himself to be one of the more reliable actors of his generation.

The Lookout’s most valuable accomplishment is that it provides me with a greater appreciation of Christopher Nolan’s Memento. Though the predecessor is often disparaged as an elaborate but hollow gimmick, lacking any substance (an assertion that I will always dispute), Nolan’s film has the sense to allow its form to match its content and thereby creates a disjointed and confusing experience for its audience that conveys the mental condition of its protagonist. Meanwhile, Frank only appears to be mildly concerned in such tactics, choosing to be far less overt with the framing and sequencing within the film, which match occasionally and merely share passing similarities while he attempts to convey the notion of habit. Subtle filmmaking decisions are generally praised by respectable critics (just for the record, I have never included myself among them), but occasionally an overt and observable style better serves its purpose. In my mind, this seems to be one of those rare occasions.

Rumsey’s Review

by Chiranjit Goswami | Source: Miramax 35mm Theatrical Print
04 Jun 2007 3:12 PM | Submit Comment