To quote Roger Ebert, "I hated this movie. Hated hated hated hated hated..."
It starts out with some potential: biblical and Freudian symbolism combined with over-the-top discomfort and unsettling mysteries. But rather than paying out on any of the artistic statements it started, it just ends up in a pile of taboo flaunting in the most audience hating BS and purposeless rape.
Subjecting yourself to this doesn't result in anything but a combination of wasted potential and manipulative id wanking.
If you've ever wanted to feel sad, depressed, and utterly alone in the universe, have I got a film for you.
Beautifully crafted with a nearly perfectly escalating pace that plays audience emotions like a fiddle (or perhaps an old electric organ), there is so much depth, empathy, awkwardness, sadness woven into this that it's truly lovely. Even if it won't cheer anyone up.
Why is it so hard to make a movie like this where the third act doesn't completely destroy the interesting second act twist?
You had so much potential, THE GIFT. Jason Bateman was really well cast for what you were going to pull off. And then you wasted it. Enough that I am still annoyed.
I get really angry at movies that get this close to doing something unique/surprising and then pull back into conventional thriller land, like they're some sort of gifted kid who ends up working at 7-11.
Oh, it's trying to both satirize action racing pictures and be an action racing picture. There's an over-the-top sense of humor there. There's also lots of explosions of expensive bikes, cars, props. But it ends up feeling like you've watched two hours of a Pepsi commercial dreamed up by Kid Rock.
I loved DETENTION. I can see inklings of the brilliance of DETENTION in this. But this is certainly no DETENTION.