Directed by:
Tarsem SinghScreenplay:
Mark ProtosevichCinematography:
Paul LauferComposer:
Howard ShoreCast:
Jennifer Lopez, Dylan Baker, Marianne Jean-Baptiste, Patrick Bauchau, Vincent D'Onofrio, Catherine Sutherland, Vince Vaughn, Musetta Vander, Jake Weber (more)VOD (2)
Plots(1)
Schizoid serial killer Carl Stargher (Vincent D'Onofrio) has been captured at last, but a neurological seizure has rendered him comatose, and FBI agent Peter Novak (Vince Vaughan) has no way to determine the location of Stargher's latest and still-living victim. To probe the secrets contained in Stargher's traumatized psyche, the FBI recruits psychologist Catherine Deane (Jennifer Lopez), who has mastered a new technology that allows her to enter the mind of another person. What she finds in Stargher's head is a theater of the grotesque, which, as envisioned by first-time director Tarsem Singh, is a smorgasbord of the surreal that borrows liberally from the Brothers Quay, Czech animator Jan Svankmajer, Hieronymous Bosch, Salvador Dali, and a surplus of other cannibalized sources. (official distributor synopsis)
(more)Reviews (7)
Apparently, it’s not possible to create anything new in the crime genre, and thus it's up to the filmmaker's imagination and willingness to play with all the established clichés. Tarsem Singh, a young directorial debutant full of predatory Indian blood, conceived the film, for the most part, as a riveting dreamlike escapade in which almost anything is possible. Most filmmakers put the imprint of their soul in their films and frankly, if dream trips are the imprint of Singh's, I wouldn't want to be his psychiatrist. You don’t often see an obscure monstrosity, combining a child's fascination with simple toys (dolls) with a kitschy and exaggerated Bollywood-style set design (creative decorations, costumes), rendered with a few brilliantly executed camera twists and supported by a mesmerizing and maximally "off" soundtrack by Howard Shore. Maybe that's why it's possible to forget about the scriptwriting impotence and enjoy the form to the last drop, which wins overwhelmingly this time and for once it's actually not a bad thing.
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Tarsem Singh tries to innovate the classic thriller motif of the hunt for a serial killer with the visual art of dreamlike excursions into the killer’s mind. Thanks to Howard Shore’s music, the thriller motive achieves the impressiveness of the best moments of Seven in places. The dreamlike visions are also amazing. However, combining these two elements doesn’t work, instead making The Cell just a chaotic film experiment.
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I like bizarre oddities. I like films that are out of the ordinary, which The Cell undoubtedly is. I like visually sophisticated films, and Tarsem Singh didn't skimp on his directorial ideas and the cinematographer also went the extra mile. Add to that Howard Shore's brilliant, also very catchy and severely underrated soundtrack, then my rating is quite easy. And Lopez can act!
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A crushing victory of form over content. The actors are average and bland, but the dream sequences are so captivatingly atmospheric that it is impossible not to succumb to them. I am curious to see what Tarsem Singh can do when he has a proper script.
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For those seeking eccentricity, visual effects, and a departure from the mainstream in a film, The Cell might hit the mark. The dream sequences are visually provocative, sexually enticing, and appropriately imaginative. However, for those looking for a well-rounded, thoroughly developed movie with a quality script, The Cell will be a waste of time. It primarily lacks a gripping story and a strong protagonist. Jennifer Lopez cannot even be considered an average actress, so she works best in the film when she isn't trying too hard and simply exists - with striking makeup and extravagant costumes. This blend of film experiment and crime genre didn't work out very well. Overall impression: 40%.
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A decade older predecessor to Inception with the dense atmosphere of The Silence of the Lambs or Seven. Fortunately, the rumors about Tarsem Singh being a visual magician were not just idle talk... The Cell is truly a feast for the eyes (definitely not for the soul, some of the scenes are really strong). I also give it an unconditional five stars (despite the lackluster Vince Vaughn) for Shore's wonderfully weird score.
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The American-German film The Cell is particularly impressive because of Tarsem Singh's amazing imagination. Jennifer Lopez is here in stunning costumes, but Vincent D'Onofrio also transforms into various demonic forms. The beauty and horror work well together, but only in the visually-elaborate scenes. Otherwise, it's a pretty ordinary thriller with only one extra aspect: Its breathtaking design.
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