You can’t outrun your past. Sooner or later, even the smallest moments of questionable behavior will come back to haunt you, whether it be in the form of some unexpected bad luck, a mysterious new friend, or a gift at your doorstep. Whatever ill deed was done in the past will determine the punishment fitted for the crime, but eventually, even the most hidden misdoings will be avenged; the deepest, darkest secrets rising like skeletons to the surface; reanimated corpses coming to claim those who have wronged them. Robyn and Simon may think that they’re about to embark on the happiest years of their lives, as they move from the crowded city to this quiet suburban neighborhood, but soon they will find fate knocking at their door, ushering himself in, and ripping every last sense of safety and serenity from the confines of their home.
[Related Post] Trace Reviews The Gift, says it’s “a surprisingly effective psychological drama!
Simon is slowly climbing the ranks at this billion dollar company, nudging elbows with those in the higher floors of his office, and providing impressive work from his desk. He is much more thrilled about the move from their cramped condo to their quite literally open house, as windows take up entire walls and seem to cover more space than concrete in their new modern home. Robyn is happy to work from home for the time being, but is clearly having more trouble adjusting to life in the suburbs, with its talkative neighbors and unfamiliar roads. At first, it seems that there is no one that Robyn can really establish a connection with in this town, and her only real friend in this new world is her busy husband who spends most of his time at the office. That is, until one day when the two are out shopping and a new friend (or rather, an old one) appears. His name is Gordo, and he claims that he and Simon used to attend school together. It may have been a brief re-introduction, but this couple has unknowingly opened a door it cannot shut, and it’s not long before Gordo arrives out in front of their home, uninvited, unannounced, and often. Robyn sees it as a bit odd, but welcomes the new addition to her life, as his quirky nature seems to mold with hers better than those of the primped and perfect people who live next door. Simon, however, takes it as more of a threat, and begins the slow process of banishing Gordo from their lives. However, this is one visitor that won’t go as quietly as he came; a man who has popped up out of old yearbooks and anecdotes, and who has brought the past along with him.
Edgy, unnerving, and relentless, The Gift is an intense and shocking thriller that will keep you guessing until the very end. Jason Bateman is terrific as the husband who has managed to keep the truth of his realities kept hidden so well for so many years from the very woman sharing his bed. Rebecca Hall is a wonderful presence that lends not only realism for her character, who tries to make the best of every situation, but also sympathy for their newfound friend and his social anxiety, whom her husband has little patience for. Together, Bateman and Hall create some very believable performances that feel more like we’re getting a peek inside their home at relationship drama that clouds every partnership, i.e. struggles at work, adjusting to a new neighborhood, etc., rather than clearly scripted arguments that take the viewer out of the situation. Their chemistry feels natural and easy, making it quick and simple to get on board with their feelings and their decisions. However, perhaps the most impressive performance of all is that of writer/director Joel Edgerton, who’s excellent at creating a character that’s both sad and lonely, and scary and intense. Between his gracious nature and his clingy behavior, Edgerton rides the line between welcomed friend and feared foe with ease, projecting insecurity and shame on his quivering lips, with hints of malice tucked away discreetly in the corners of his eyes.
From start to finish, the unescapable feeling of tension never quite dissipates from the air, squeezing its victims in an invisible fog that seems to drift from the screen into the theater, holding everyone prisoner at the edge of their seats. This is a dark, merciless tale of invasion in every sense of the word, from the entering of the home, to extinguishing the strong bond that once held Simon and Robyn together. As Gordo makes the transition from stopping by and saying hello to established stalker, there’s always a feeling lingering overhead that he might be around; the pressure he emits permeating every sanction of their marriage until there’s only broken pieces left behind. As we, the audience, sit and watch the film, it feels as though Gordo is watching us, leaving us feeling as unsafe and trapped as the characters onscreen.
Edgerton deserves all the credit in the world for this breathtaking directorial debut. Clearly a fan of legendary Korean filmmaker Park Chan-wook, The Gift resembles Park’s own stories of vengeance, not only for its similar twists and turns, but because of its understanding of slow, methodical vengeance, as opposed to the the usual bloody, action-filled tales of revenge that American audiences have grown so accustomed to, since that is what usually makes it to our theaters. This smart, triumphant psychological thriller marks an exciting time not just for budding filmmaker Joel Edgerton, but for the future of horror, making a long-awaited return to R-rated scary movies, which have become scarce and somewhat frowned upon. Based on inevitable success of The Gift, it’s an exciting time for cinema, as it shows how R-rated films can make just as much money, if not more, than those restricted to a PG-13 rating, as long as someone as innovative and visionary as Edgerton is behind the camera. I can’t wait to see what else this promising director has hidden up his sleeve.
