An F.B.I. Agent persuades a social worker, who is adept with a new experimental technology, to enter the mind of a comatose serial killer in order to learn where he has hidden his latest kidnap victim.
In a hospital on the outskirts of 1920s Los Angeles, an injured stuntman begins to tell a fellow patient, a little girl with a broken arm, a fantastic story of five mythical heroes. Thanks to his fractured state of mind and her vivid imagination, the line between fiction and reality blurs as the tale advances.
The music video opens with Lopez at her rich boyfriend's mansion. He calls her to inform her that he can't make their date, but has left her another golden bracelet. Strapped in jewelry, ... See full summary »
The Cusp is a serial killer who kills his victims and then brings them back to life - over and over, until they beg to die. Psychic, Maya is an investigator who gained her powers after ... See full summary »
Catharine Deane is a psychotherapist who is part of a revolutionary new treatment which allows her mind to literally enter the mind of her patients. Her experience in this method takes an unexpected turn when an F.B.I. Agent comes to ask for a desperate favor. They had just tracked down a notorious serial killer, Carl Stargher, whose method of operation is to abduct women one at a time and place them in a secret area where they are kept for about forty hours until they are slowly drowned. Unfortunately, the killer has fallen into an irreversible coma which means he cannot confess where he has taken his latest victim before she dies. Now, Catherine Deane must race against time to explore the twisted mind of the killer to get the information she needs, but Stargher's damaged personality poses dangers that threaten to overwhelm her.Written by
Kenneth Chisholm <firstname.lastname@example.org>
Director Tarsem Singh asked Tara Subkoff during her interview if she could swim (to prepare for her role as Julia), to which she responded that she could and that she had been a lifeguard. It turned out, however, that she could not go underwater without holding her nose. Singh would have switched her role with Catherine Sutherland, who plays Carl's previous victim, had he known this sooner, but it was too late, and there was not enough money or time to re-shoot her scenes, which were rather troublesome to film. See more »
(at around 1h 22 mins) After Peter revives from entering into the subconscious, he takes the cloth off his face and places it at his left side. In the next shot, the cloth is moved to right under his chin. See more »
Two scenes featuring the girl in the water tank: one where she beats on the glass in the dark, screaming randomly, and another where the water comes on as she tries to eat, she counts to thirty, and screams when the water doesn't shut off when she reaches thirty (this sceen was, in part, in a version of the trailer)
A scene where, shortly after arriving at the institute, Peter and his partner talk by a statue (completely improvised, according to the director's commentary)
A previously unseen session with the child in the desert; the session is interuppted by outside influence, and we see a 'green man' speak for the technicians and place the fabric over Lopez's eyes as she passes out (immediately before the scene where one of the technicians says 'We have a situation')
An extended and modified version of the conversation between Lopez and D'Onofrio at the bathtub (where Carl is taking apart his first victim)
A modified version of the initial strike on Carl's house, involving a single FBI agent running across the street, over the fence, and onto Carl's lawn; he sees Carl, unconsious on the floor in his kitchen, via mirror (followed immediately by the initial infiltration)
An incredibly long and slow pan across the ceiling of Carl's room after the long shot of the schoolyard at the very end of the movie
The European version of the 'hanging' sequence, complete with Carl finishing the preparation of the body
Every once in a while a film comes along that stands apart from all others made in years. The Matrix did it last year, and The Cell has done it in 2000.
The last film that provided a vivid and disturbing look at what insanity is probably like was In Dreams. In that movie, you didn't see insanity, you were THERE. Now The Cell comes along with an updated and much more disturbing portrayal of the inside of the mind of a psychotic killer. The opening scene takes you into the seemingly innocent mind of a comatose little boy, and the things that Catherine Deane (Jennifer Lopez) sees are first fascinating and then terrifying. The things that she later sees in the mind of Vincent Stargher (Vincent D'Onofrio) are amazingly imaginative and fascinating, most of this stuff has never been seen in film before.
The story of The Cell is not exactly something that is really groundbreaking. In fact, it is basically the same as the story in The Silence of the Lambs. You have a killer in custody and these people have to enter his mind to find a female victim who is currently in danger of losing her life. The only real difference between the foundation of the plots is that in The Silence of the Lambs, you have to enter the mind of a killer to find a different killer as well as his current victim, while in The Cell, you have to enter the mind of a killer to find his own victim. However, despite the unfortunately weak story, The Cell completely revolutionizes the genre of the psychological thriller. None that have ever been made even come close to it.
Also, the film had good direction and was extremely well acted. Vince Vaughn delivers another of his characteristically excellent performances (he was even good as Norman Bates in the pathetic 1998 re-make of Psycho), and even Jennifer Lopez puts forth the second good effort of her career (the other being the great Out of Sight). Nothing can be said of the cinematography in The Cell to give it sufficient credit, it was imaginative and fascinatingly done and is unparalleled by anything ever seen in cinematic history. The Cell is an incredibly well-made film, and it deserves to be recognized.
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