If Alfred Hitchcock taught us one thing, it is that suspense is much scarier than shock value.
After seeing “The Mothman Prophecies,” it is apparent director Mark Pellington really needs to study his “Vertigo.”
Although supposedly based on a true story, writer John Keel’s novel, which in turn is based on human testimony, the film is drenched in hackneyed cinematic horror, with the rising tense music always telling the audience when to be scared. But unlike truly scary horror movies, “Mothman” never delivers on the promised fright.
The film stars Richard Gere as John Klein, a Washington Post reporter living the sweet life with an attractive, and much younger wife, played by Debra Messing. After his wife’s death, Klein tries to settle back into a normal life, but through lazy storytelling, he miraculously ends up lost in Point Pleasant, W. Va.
Local policewoman Connie Parker (Laura Linney) informs Klein of all the mysterious happenings around the town, including sightings of a strange creature similar to one his wife saw before she died. Of course, Klein decides to stay in Point Pleasant for a few days to try to uncover the mystery of what the Mothman is, although why he’s really staying is never really clear.
Is it because his wife saw the same thing before she died to completely unrelated causes? Or does Klein just like to do crazy things that will only happen in Hollywood reality?
Pellington has already proven he is capable of making a truly unnerving film, coming off of the twisted “Arlington Road,” but “Mothman” never gives him the chance to even start. Instead, the story drifts lazily along, attempting to throw shock after shock at the audience, but ends up being just as scary as the very unscary “Urban Legend 2.”
The camera movements and cinematography earn credit for Pellington and his production crew, although his attempt is wasted on the unsalvageable plot.
It’s almost painful to say it, but it looks as though Linney has fallen into the Hilary Swank trap. Having just finished independent hits “The House of Mirth” and “You Can Count on Me,” which earned her a deserved Oscar nomination, she chooses to play Parker, a one-dimensional role unsuited for her talents. Even Linney seems bored with her own role, possibly coming to the realization that she’s chosen an even worse movie than “Congo.”
What is a giant step down for Linney is a leap forward for Gere. Having broken out of his recent string of romantic duds, “Runaway Bride,” “Autumn in New York” and “Dr. T and the Women,” Gere seems to get some real acting work, adding that little bit of realism to Klein that’s been missing out of his work since “Pretty Woman.”
The supporting roles are filled with a mixed group of actors, none of which inspire them to get hired again. Messing, as Klein’s wife, gets the shortest screen time, possibly hoping the audience will forget her appearance by the end of the movie, so she can keep them watching “Will and Grace.” Will Patton (“Gone in Sixty Seconds”) plays a resident of Point Pleasant, and sadly for him, plays the role well. It’s sad for Patton because his character is the weakest in the film, which adds “Mothman” to his impressive list of film flops.
The movie ends as the typical Hollywood flop always does, with a very anti-climactic disaster, meant to make the audience forget the film never answered any questions about what the Mothman is. Anyone who sees the movie and doesn’t guess the ending when the painfully obvious foreshadowing occurs really needs to join Pellington in watching a few of those old Hitchcock classics to see how suspense is truly done.
Todd LaPlace is a sophomore in journalism. The Hilary Swank trap is named because after she won an Oscar for “Boys Don’t Cry,” Swank did “The Gift” which was a waste of her talent. Todd can be reached for comment at [email protected].
