Red Lights

Psychologist and paranormal investigator Dr. Margaret Matheson (Sigourney Weaver) and her assistant Dr. Tom Buckley (Cillian Murphy) a physicist travel around debunking supposed paranormal activity from bumps in the night to stage psychics. Dr. Buckley wants to investigate their most challenging person to date, Simon Silver (Robert De Niro), a redound psychic who is making a comeback after a thirty year absence from the stage. Dr. Matheson warns Buckley against this though after having come up against him in the 1970s and failing to prove him a fraud. With the help of student Sally Owen (Elisabeth Olsen) Buckley defies Matheson and begins investigating the illusive Silver.

As a radical atheist and sceptic the film's ideas appealed to me. I was delighted to watch the scientists make fun of and debunk people who claim to see ghosts and be able to read minds. The script treats these people with distain and isn't afraid to mention how these people can be responsible for giving stupid people false hope and can even cost lives. The cast is also amongst the best of any film this year. With actors such as Signourney Weaver, Cillian Murphy, Toby Jones, Joely Richardson, the delightful Elizabeth Olsen and my all time favourite actor Robert De Niro, anything less than a great film would be a disappointment. Well, this isn't a great film but it isn't terrible either.

The cast are all great. It's nice to see Sigourney Weaver in a more substantial role for a change and not just popping up at the end of a sci-fi film. She is believable as a psychologist and it's fun to see her spa with Toby Jones. Her character also has just the tiniest bit of doubt which makes her fallible and this is conveyed well by the actress. Cillian Murphy is also excellent as the physicist but is a bit more mysterious than Weaver. He gets better as his character develops as the film progresses. Elisabeth Olsen gives another good performance but after her break out roles in Mary, Martha and Safe House takes a bit of a back seat here. De Niro, who as I said is my all time favourite actor doesn't embarrass himself for once and while we don't get De Niro of the 70s or 80s he's on good form here. The supporting cast of Submarine's Craig Roberts, Joley Richardson, Toby Jones and English language newcomer Leonardo Sbaraglia help to round out a great cast with good performances.

The plot develops at a good pace and it gets darker and scarier as it goes on. I wasn't able to get the main twist which was a satisfying if ever so slightly confusing one but De Niro's twists were ridiculously obvious and pointed to far too much. Anyone can see what is going on, you just have to watch. The camera work is far too busy for my liking. One scene featuring Murphy and Olsen having a conversation in a café used about seven different camera angles and it became a little distracting. After filming Ryan Reynolds in a box for his last feature Buried, director Rodrigo Cortes could have done with making his latest film a bit more confined.

The first hour is definitely better than the second and there was an echo of "oh, well then" as the lights went up in the cinema. The film loses its way slightly in the second half and the somewhat pedestrian script comes to the forefront. While the actors do a good job and while there is plenty to like the ending isn't brilliant and doesn't do the opening justice. Even so, it's nice to watch some great actors delivering good performances and the twists should keep most people guessing.

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Not very often do you see such juxtaposition in film in terms of narrative structure. Unfortunately the second hour of this ambitious thriller fails to follow its enthralling predecessor, which explores a new and engaging concept.

Following in the footsteps of the director, why not separate my review into two halves? Though I will try not to decline in the quality of analysis.

With a highly respected and frankly quite surprising cast (the surprise being the lack of marketing and attention the film has received), nothing negative can be said of the fine performances, most notably from our protagonist Cillian Murphy. The actors deliver dialogue to assist the slow plot development and at times subtle, appropriate humour between Murphy and Sigourney Weaver's characters. The chemistry between the two paranormal researchers is evident throughout and it is not until one of the film's many expositions where this is lost. This technique of continuous revelations is what enables an audience to remain in their seats despite having perhaps consumed too much of the overpriced beverages from the lobby, and as cliché as it is, keeps you on the edge of your seat. (hopefully not due to irritability) The script itself unveils an original idea of exposing paranormal phenomena as fraudulent, which itself is reason enough to enjoy this film in theatres while you still can!

Now onto the second hour, I mean paragraph. The immediate impact of the arguably primary disequilibrium can be felt as it occurs, as the tone of the motion picture changes. Unexpected plot holes begin to expose themselves as spots might to a thirteen year-old. This unfortunate turn in events (speaking both figuratively and literally) proves to lead to an eventual anti-climax, that cannot be described as anything else but disappointing. As a consumer, I found myself questioning where exactly the film was going, as one might if taken on a different bus route to a usually predictable destination. Though we ended up at the expectation of predictability and disappointment. (only an expectation in hour two) Anticipating the final exposition was a task of its own, would there be a resolution? Would our unusual tragic hero achieve his goal? How would a new equilibrium be incorporated? This is what kept blinking to a minimum throughout, though eyes were still rolling at particular moments due to the inconceivable mistakes and unexplained occurrences. We were almost being rushed towards the end of the story so that the theatre could get more people to enjoy the film for an hour or tw... forget it, just the one hour.

Without the cast to save the ambition and potential of Rodrigo Cortes' piece, it no doubt would have been a disaster in all respects and its already mundane box office performance would be as low as my mood coming out of Screen 14 last Wednesday. With all respect to the director/writer though, 'Red Lights' is worth watching based solely on the first 60 minutes because of the idea, as well as the performances of the many talented actors, despite some characters being completely irrelevant and unnecessary. If you find yourself searching for something to do one evening, and if there are no particular films you desire to see, but you desire to see a film then 'Red Lights' will moderately satisfy your appetite, though you may be disappointed there wasn't more on the plate.

Psychologist Margaret Matheson (Sigourney Weaver) and her assistant (Cillian Murphy) study paranormal activity, which leads them to investigate a world-renowned psychic (Robert DeNiro) who has resurfaced years after his toughest critic mysteriously passed away.

I really enjoyed the first half of this film, with the crew debunking psychics and trying to find their methods. Weaver is not my favorite actress, but she does a fine job being the cynic. Cillian Murphy is excellent as always, his eyes sparkling, and I wonder if he has finally broken through to the top of the pile (I feel like he should have done so a decade ago, but I suspect the average person has never heard of him).

The second half is less than spectacular, as we focus on DeNiro's so-called powers. Things blowing up, a man flying... it just seems to get too supernatural, and I do not care for it. The film makes attempts to redeem itself, but I feel like it should have just stayed on the path it set out for itself in the first half...

Not much has been made of it, but 'Red Lights' has a twist which, I don't care how attentive or clever you are, you will simply not predict. Paranormal-themed films are getting to be quite stale, but the ending, which actually has two twists, is marvellous and might - might - galvanise the genre.

Sigourney Weaver and Cillian (pronounced 'Kill-ian') Murphy play Doctors Matheson and Buckley. They're a psychologist and physicist who investigate psychic claims. Invariably they come away from each case laughing. Every one is explained scientifically; rationally. They're exposed as magic tricks.

Recent roles haven't reflected why Weaver, who is nearly 65, has been so prolific of late, but here she excels. Her character is meant to be an expert and, because of the plausibility she exudes, that's exactly how I viewed her. Writer-director Rodrigo Cortes' ('Buried') excellent script assists her characterisation. Intellectual, detailed, life-like: you could be mistaken, at moments, for watching a TV show debate. Murphy gets similar credit. He invests in his role a seriousness which might have been silly if he did so in isolation.

The doctors find their match in Simon Silver (Robert De Niro), a famous psychic who comes out of retirement for one last pay check. He's the only one Weaver won't investigate because 'he's the only one who makes her doubt'. Murphy insists, however, but when he does, he – we – uncover more than we were expecting.

Like you (I hope), I'm convinced that psychic ability is balderdash. So I was more than impressed at how Cortes creates a mood and a tempo that keeps you guessing until the dramatic end. His film is original, suspenseful and, most importantly for a film with this premise, credible.

But then there's De Niro, my favourite actor. Always has been. Always will be. But my God has he been making it hard for me these past 20 years. He once said that he was an actor, not a personality. I think it's time for him to update his personal quote book. Why do I say this? Because (and I deeply regret admitting this) he's the single biggest reason why 'Red Lights', regardless of Weaver's and Murphy's endeavours and the superb final twist, will join his expanding cannon of fodder.

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No, the story resolution itself isn't stupid. I'm talking about the ridiculous over-the-top theatrics that turn this otherwise intelligent story into a carnival, heavy on the cotton candy. All subtlety is lost, and we're given a razmatazz final scene that beats the point home harder than getting your head slammed into a ceramic sink so hard that it breaks (the sink). Twice. By the way, that's what happens to a character, and the character still manages to walk away like nothing happened.

That little sink example is the perfect illustration of how this movie, which initially began so well I spent the first hour whispering to myself, "how did I never hear of this awesome movie before?" falls apart in the last 30 minutes and becomes almost a parody of every cheesy action flick you've ever forgotten. "Red Lights" begins with one of the most suspenseful 'gotcha' scenes in movie history--simply because it's the *opposite* of every thriller cliché you'd never expect it. Immediately the film establishes itself as the true skeptic's thriller: a movie that'll scare the crap out of people who don't scare easily because they don't fall for ghosts and demons and spooky gags. This film sucks us into the intrigue NOT on the promise of supernatural gimmicks but on the opposite: a cryptic, real-world secret that explains all the fake supernatural stuff.

Finally, I thought! A movie that can carry the suspense with pure, scientific reality. Almost like Mythbusters but with a dead person or two. Like a good political thriller ("Manchurian Candidate", "The Spy Who Came In from the Cold"), the film is tense and riveting even though there aren't any shootouts or car chases or space robots. But, oh dear lord, all of that gets flushed in a supremely preposterous climax that left me wondering if the real director died during filming and was replaced by JJ Abrams.

Nobody is more disappointed than I am, because I really thought this would become one of my top 10 thrillers. Great acting, excellent mood cinematography and a wonderfully original story had the deck stacked in its favor. I'm still in shock that it turned so sour, most probably for the sake of dazzling the less attentive audience members who demand gratuitous fight scenes and pyrotechnics (literal pyrotechnics lol) to give us a wow bang finish.