Directed by:
Joel EdgertonScreenplay:
Joel EdgertonCinematography:
Eduard GrauCast:
Jason Bateman, Rebecca Hall, Joel Edgerton, Beau Knapp, Busy Philipps, Allison Tolman, Katie Aselton, Susan May Pratt, Wendell Pierce, Nash Edgerton (more)VOD (1)
Plots(1)
Can you really go through life having never wronged anyone? Even if you are unaware of how, or when, and even who you may have wronged.chances are there is someone out there who wont ever forget itor you. Simon (Jason Bateman) and Robyn (Rebecca Hall) are a young married couple whose life is going just as planned until a chance encounter with an acquaintance from Simons high school sends their world into a harrowing tailspin. Simon doesnt recognize Gordo (Joel Edgerton) at first, but after a series of uninvited encounters and mysterious gifts prove troubling, a horrifying secret from the past is uncovered after more than 20 years. As Robyn learns the unsettling truth about what happened between Simon and Gordo, she starts to question: how well do we really know the people closest to us, and are past bygones ever really bygones? (Roadshow Entertainment)
(more)Videos (16)
Reviews (8)
A well-constructed story that relies on the fact that it's never really clear who the asshole is and who isn't. That is also true for the ending. Good progression that doesn't go to extremes, but primarily a well-executed psychological game that shows Edgerton's talent in multiple ways. Just looking at him will give you chills. And surprisingly, also Bateman.
()
A nice little present, though Hřebejk tackled a very similar theme with much more effect and grace in Honeymoon. I can't fault the film in terms of craftsmanship, and I give it a thumbs up for that one brilliant jump-scare, but the ending didn't make my jaw drop, it simply fizzled out. A good debut nonetheless, Joel Edgerton.
()
Joel Edgerton has made a smarter film than could have been expected. Great psychology and plasticity of characters, excellent situational scenes and fantastic actors without exception. Pity about the literal twist, which is impressive but still too explicit. Had it been more open and just hinted at, it could have been one of the highlights of the year, as the subliminally unsettling tension of something evil and unspoken is felt even through the screen.
()
The Gift is a solidly developed psychological drama that is, however, dragged down to the level of a forgettable genre movie by its wannabe shocking delivery of the final point. The clever work with the characters’ psychology would have made the film stronger and more unique if it were more subtle (i.e. if it didn’t underestimate the viewers and shock them with a mere disturbing suggestion).
()
What the advertising sold as a run-of-the-mill stalker thriller it’s actually an ambitious and smart psychological drama with only hints of the genre elements of thriller and horror (the film probably has the ugliest jump scare of the year). Even after the end, the film is a fable with lots of empty spaces that could be easily filled with fairly different versions of the events, which makes for post-viewing debates. Certainly, a surprise from first-time director Joel Egerton, I hope he’ll get back behind the cameras soon.
()
Ads