"Cellular"

Starring Kim Basinger, Chris Evans, Jason Statham and William H. Macy. Directed by David R. Ellis. (2004, New Line Cinema)

'Cellular' poses an intriguing idea: what if your only hope was someone you didn't know. How could you convince a complete stranger that you are really in danger? David R. Ellis' thriller is lean and serviceable even though it doesn't aspire to be a benchmark to its genre. A shame since with sharper writing and more edge, it could have been one of the strongest films of the year.

Kim Basinger plays perfect parent Jessica who takes her young son to school and within moments is kidnapped by a bunch of crooked cops (led by Jason Statham). Across town, a young slacker Ryan (Chris Evans) answers his cell phone and finds Jessica on the other end, he is her only hope. Together, they work in order to save Jessica and her family's life and by any means necessary. Thrown into the mix is a veteran cop (William H. Macy) who is about to open his own day spa and is about to finish his life as a policeman.

David R. Ellis does a fairly good job with 'Cellular' and from a production standpoint, everything is done right. At times, it seems like he is trying to evoke Alfred Hitchcock, but perhaps this is the sort of idea the master director would explore in today's times. Much of it is fast, swift and easy to watch. There is no clogging of scenes, no unnecessary subplots, it gets right in and doesn't let go. That's a strength that many directors lack. Ellis also knows how to stage a traffic jam, his second following 'Final Destination 2' and this one isn't as effective, but quite well-filmed. Where 'Cellular' is hindered is by its fairly pedestrian script by Chris Morgan who could have done with more redrafting. A lot of the lines are corny, a lot of the plot doesn't make any sense and structurally, it's unfocused. The whole set-up while frighteningly realistic doesn't add up when everything is explained and comes across as a little too preposterous. It also doesn't give the audience too much reasoning behind Ryan's elaborate attempts to save Jessica's life. The character holds up a telephone provider, causes a horrific car pile-up and robs a car at gunpoint - will he be reprimanded? Obviously not since after all he gets to rescue the "perfect American family" in the end but this sort of reasoning creates an unrealism that results when the film has to adapt to the screenplay despite the stupidity of the ideas. Again, it all comes down to script and it would have had better opportunities if it was a little more edgier rather than following the constraints of the ABC's of the genre.

Another problem may have been the performances which are decent, but many actors are miscast or too bland for their roles. Kim Basinger tries hard, but she doesn't seem interested in the role. Basinger has acting abilities, but this role suits a stronger actress like say Michelle Pfeiffer, Jodie Foster or Julianne Moore just to name a few. Jason Statham has the unfortunate distinction of being miscast and stereotyped as the bad guy. Two questions here: how many British speaking cops are there in Los Angeles? And how many of these roles does Statham intend to make? Then there's poor old William H. Macy who must have had some bills to pay with this dull role. The only one who works is relative newcomer Chris Evans, who has the hardest role but gives it some bite. Perhaps it been his first real movie made him enthusiastic but his the only one of the cast with a pulse, everyone else seems lifeless.

The general feeling about 'Cellular' is that it's going through the motions. Mostly everyone doesn't seem too interested in the movie because they know they have done better. That sort of feeling shouldn't translate in their performances. The fact that the most inexperienced actor in the cast seems to be the only one interested isn't a good thing. Still, it's a swift little thriller that never outstays its welcome and has quite a nifty idea that could have been explored with an edgier approach. 'Cellular' won't challenge the thriller genre, but in today's market of Oscar-baited projects is a refreshing change.


out of ten

Reviewed by Chris Cappola

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