A couple, trying to get the last ferry to their island, help a young drifter out of the rain with a ride. They later meet him again and invite him home. The much younger wife spends time with the drifter. Twists follow.
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Title: Dark Harbor (1998)
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| Complete credited cast: | |||
| Alan Rickman | ... | David Weinberg | |
| Polly Walker | ... | Alexis Chandler Weinberg | |
| Norman Reedus | ... | Young Man | |
 |
Janet Mecca | ... | Alexis Sr. |
|
|
Lewis Flagg | ... | Minister |
| Sasha Lazard | ... | Funeral Singer | |
A bickering couple drive fast through a downpour to catch the last ferry to their island retreat. In a flash, they recognize a crumpled body laying at the side of the road after much argument they stop, only to find a young boy battered and bruised. An offer of summoning the police firmly rejected, the two help the boy as best they can although it certainly means missing the ferry... and so starts this thriller: a tale of twisted sexual attraction and ulterior motives. Written by Anonymous
Dark Harbour is a quaint, little seen romantic thriller from the late 90's that sets up an alluring atmosphere in the brief time we get to spend with it, and then ventures slightly into territory that's a bit beyond its initial calculations, providing a super lurid, erotic third act that might not sit well with viewers who patiently followed it along the tracks of logic before it faltered slightly. It's funny though, because the ridiculousness of the twist ending is one of the main aspects that has made the movie stick in my mind since I saw it like eight years ago. The uniquely paired cast makes it worthwhile, as does gorgeous locations and solid cinematography, working hand in hand with neat, rain speckled sound design to bring us a low key thriller that does the trick. Alan Rickman and Polly Walker play a wealthy couple on their way to a remote getaway at a snazzy, forest covered property they own in picturesque Maine. They are about as dysfunctional as couples get; bickering, petty creatures who can't stand to be in each others presence to the point of constant tension. On their way into a secluded, densely forested region they come across an unconscious young man (Norman Reedus) who vaguely suffers amnesia and appears to be distressed, prompting them to take him with them to their abode. From their tension arises to an uncomfortable level as the drifter proves to be both a third wheel and a sinister force of unease to both, culminating in an ambient, rainy forest finale that stands as the best sequence in the film, and a nice bit of work at that. Rickman doesn't usually go for this kind of melodramatic, American stuff and it's surprising in a good way to see him flex his genre muscles. Walker, who wowed me in HBO's Rome, is overlooked and slides into any role with intuition and believability, not to mention her luscious physical presence. Reedus, an actor now known for his endless work on the increasingly dull and shabby The Walking Dead, has countless hidden genre pieces like this in his filmography, and his inherently edgy, enigmatically off kilter aura makes everyone worthwhile. This one especially so, as it's a nicely crafted little dip into a hot and cold mess of a situation that tears the rug from under you in ways you won't see coming.