IndianaJones
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It never got published in the paper I work for due to my finishing it late, I figured someone might as well read it besides myself...
Lemme know what you think.
Although claimed not to be a remake, the movie is at the very least a re-imagining of Alfred Hitchcocks classic Rear Window. Directed by D.J. Caruso, Disturbias story closely mirrors the 1954 film, where professional photographer Jimmy Stewart is confided to his home due to a broken leg, takes to spying on his neighbors and suspects one man has murdered his wife. Hey, it reflects a classic. How can you go wrong? However, while Disturbia presents a thriller more relatable and engaging for average audience of today, it fails to deliver what Rear Window did for me.
The film follows Kale(Shia LeBeouf), a high-school student placed under three month house arrest for the duration of his summer vacation for assaulting his Spanish teacher after a comment about Kales father, who was killed in an automobile accident a year prior, for which Kale blames himself. Left to his own devices while best friend Ronnie(Aaron Yoo) is away in Hawaii, Kale takes to observing his suburban neighborhood, which leads him to discover his new, beautiful neighbor. Cue the return of best friend and the inevitable establishing of a relationship with said dream girl, Ashley(Sarah Roemer).
Through his extensive voyeurism and countless hours of television, Kale connects the car of neighboring Mr. Turner(David Morse) with a missing girl, motivating Kale, Ashley, and Ronnie to begin an elaborate surveillance of the mans habits and company with ambitions of revealing his murderous nature, believing Turner is the same man responsible for a string of disappearances in Texas several years back. When their lark of a stake-out is discovered by Turner, things become dangerously serious and Kale more obsessed with discovering the truth.
As far as todays thrillers go, Disturbia proved to be a lot more captivating and entertaining than most. I wouldnt say it kept me on the edge of my seat, but interested enough not to fall asleep.
The story was pretty solid, albeit predictable, and took you from point A to point B, without any snags on subplots. The suspense was built effectively enough, although the multiple cheap scares and the transparent attempts to mystify the audience to Mr. Turners guilt caused more monotony than tension. Really, you know the ending all along. The attempts to throw you off seem commonplace and without effect purposely.
Morse played the creepily charming villain convincingly, as well as the calculating and physically imposing psycho seen towards the end. He provided a good presence, although probably not particularly memorable.
LeBeouf and Yoo were entertaining and watch able, especially while stumbling over each other during their first encounter with Roemer. LeBeouf gave life to a generic misunderstood witty teenager performance, and Yoos played the run of the mill neurotic best friend character on point. Roemer supplied the one dimensional dream girl with ease.
The relationship with Kale and Ashley commenced in the most clichéd of ways, so much so that the lines seemed painfully trite on purpose, and delivered with equal stale value.
Notably the car crash in the beginning of the film was particularly well done, but sadly, probably the most memorable scene for me.
During the final act of the movie, it was disappointing to see the movie go pointedly downhill, taking us exactly where your gut tells you the movie will end up. Kale was suddenly a technological genius, and an unbelievable fight scene removed me from the pace of things for a bit. The obligatory gross outs and gore tactics of a House of 1000 Corpses type scenes toward the end of the film, are seen so often in horror movies and thrillers today and lacked in originality and impact. It works for some movies, but it seems to be the trend to go for shock value above all else when handling any type of horror film today.
In the end, Disturbia is successfully geared strongly toward a younger audience, and misses the mark of interesting a broader audience, even one that intrigued to see a re-telling of a Hitchcock flick.
The similarities it shares with Rear Window end with the overall premise of the films; trapped in house, spying on suspected homicidal maniacs who happen to neighbor you.
The one thing I always loved about Rear Window was the focus of the movie took place outside the setting of the actual story. I always thought that was such a great idea, along with the motif that all the other windows in Jimmy Stewarts courtyard reflect different paths his life could take.
Disturbia offers nothing remotely as thoughtful or engaging, and when matched up against Hitchcock, falls terribly short of what a thriller should be.
While Disturbia offered over-the-top action, half-hearted second guessing at the truth to Mr. Turners guilt, generic character conflict, and snazzy special effects, Rear Window remains on top with subtlety, intrigue, believable character conflict, doubt in the main characters credibility, and the classic less is more approach.
Sure, Rear Window is dated and probably not as relatable today, but thats what makes it classic cinema. It doesnt affect the quality of the film at all.
Disturbia, being one of many other horror/thriller remakes to be churned out of the movie industry as of late, fails to match up to what the original aimed for. If it was done right the first time, dont fumble your second attempt on it.
As far as horror remakes go, we need more like last years remake of The Hills Have Eyes, which stayed true to the nature and story of Wes Cravens cult classic while expanding on ideas presented in the original and increasing the suspense and gore of its predecessor, and less like the cheap rehashes of When A Stranger Calls or The Fog.
With more forthcoming remakes of horror classics like Rob Zombies attempt on Halloween, I hope directors are paying attention to the blunders of remakes past.
All in all, Disturbia might provide you a way to pass the time, but Rear Windows a safe bet for entertainment. Before you see the modernization of a classic film, put time toward the original. It might change your mind as to what passes for good cinema.
Lemme know what you think.
Although claimed not to be a remake, the movie is at the very least a re-imagining of Alfred Hitchcocks classic Rear Window. Directed by D.J. Caruso, Disturbias story closely mirrors the 1954 film, where professional photographer Jimmy Stewart is confided to his home due to a broken leg, takes to spying on his neighbors and suspects one man has murdered his wife. Hey, it reflects a classic. How can you go wrong? However, while Disturbia presents a thriller more relatable and engaging for average audience of today, it fails to deliver what Rear Window did for me.
The film follows Kale(Shia LeBeouf), a high-school student placed under three month house arrest for the duration of his summer vacation for assaulting his Spanish teacher after a comment about Kales father, who was killed in an automobile accident a year prior, for which Kale blames himself. Left to his own devices while best friend Ronnie(Aaron Yoo) is away in Hawaii, Kale takes to observing his suburban neighborhood, which leads him to discover his new, beautiful neighbor. Cue the return of best friend and the inevitable establishing of a relationship with said dream girl, Ashley(Sarah Roemer).
Through his extensive voyeurism and countless hours of television, Kale connects the car of neighboring Mr. Turner(David Morse) with a missing girl, motivating Kale, Ashley, and Ronnie to begin an elaborate surveillance of the mans habits and company with ambitions of revealing his murderous nature, believing Turner is the same man responsible for a string of disappearances in Texas several years back. When their lark of a stake-out is discovered by Turner, things become dangerously serious and Kale more obsessed with discovering the truth.
As far as todays thrillers go, Disturbia proved to be a lot more captivating and entertaining than most. I wouldnt say it kept me on the edge of my seat, but interested enough not to fall asleep.
The story was pretty solid, albeit predictable, and took you from point A to point B, without any snags on subplots. The suspense was built effectively enough, although the multiple cheap scares and the transparent attempts to mystify the audience to Mr. Turners guilt caused more monotony than tension. Really, you know the ending all along. The attempts to throw you off seem commonplace and without effect purposely.
Morse played the creepily charming villain convincingly, as well as the calculating and physically imposing psycho seen towards the end. He provided a good presence, although probably not particularly memorable.
LeBeouf and Yoo were entertaining and watch able, especially while stumbling over each other during their first encounter with Roemer. LeBeouf gave life to a generic misunderstood witty teenager performance, and Yoos played the run of the mill neurotic best friend character on point. Roemer supplied the one dimensional dream girl with ease.
The relationship with Kale and Ashley commenced in the most clichéd of ways, so much so that the lines seemed painfully trite on purpose, and delivered with equal stale value.
Notably the car crash in the beginning of the film was particularly well done, but sadly, probably the most memorable scene for me.
During the final act of the movie, it was disappointing to see the movie go pointedly downhill, taking us exactly where your gut tells you the movie will end up. Kale was suddenly a technological genius, and an unbelievable fight scene removed me from the pace of things for a bit. The obligatory gross outs and gore tactics of a House of 1000 Corpses type scenes toward the end of the film, are seen so often in horror movies and thrillers today and lacked in originality and impact. It works for some movies, but it seems to be the trend to go for shock value above all else when handling any type of horror film today.
In the end, Disturbia is successfully geared strongly toward a younger audience, and misses the mark of interesting a broader audience, even one that intrigued to see a re-telling of a Hitchcock flick.
The similarities it shares with Rear Window end with the overall premise of the films; trapped in house, spying on suspected homicidal maniacs who happen to neighbor you.
The one thing I always loved about Rear Window was the focus of the movie took place outside the setting of the actual story. I always thought that was such a great idea, along with the motif that all the other windows in Jimmy Stewarts courtyard reflect different paths his life could take.
Disturbia offers nothing remotely as thoughtful or engaging, and when matched up against Hitchcock, falls terribly short of what a thriller should be.
While Disturbia offered over-the-top action, half-hearted second guessing at the truth to Mr. Turners guilt, generic character conflict, and snazzy special effects, Rear Window remains on top with subtlety, intrigue, believable character conflict, doubt in the main characters credibility, and the classic less is more approach.
Sure, Rear Window is dated and probably not as relatable today, but thats what makes it classic cinema. It doesnt affect the quality of the film at all.
Disturbia, being one of many other horror/thriller remakes to be churned out of the movie industry as of late, fails to match up to what the original aimed for. If it was done right the first time, dont fumble your second attempt on it.
As far as horror remakes go, we need more like last years remake of The Hills Have Eyes, which stayed true to the nature and story of Wes Cravens cult classic while expanding on ideas presented in the original and increasing the suspense and gore of its predecessor, and less like the cheap rehashes of When A Stranger Calls or The Fog.
With more forthcoming remakes of horror classics like Rob Zombies attempt on Halloween, I hope directors are paying attention to the blunders of remakes past.
All in all, Disturbia might provide you a way to pass the time, but Rear Windows a safe bet for entertainment. Before you see the modernization of a classic film, put time toward the original. It might change your mind as to what passes for good cinema.
