MPAA Rating: R/Genre: Mystery-Thriller/Stars: John Cusack, Ray Liotta, Amanda Peet, John Hawkes, Alfred Molina, Clea DuVall, John C. McGinley, William Lee Scott, Jake Busey, Pruitt Taylor Vince, Rebecca DeMornay, Carmen Argenziano, Marshall Bell, Leila Kenzle, Matt Letscher, Bret Loehr, Holmes Osborne, Frederick Coffin, Stuart M. Besser/Runtime: 90 minutes
It might seem like a weird way to start a review for a movie off, but can we just take a minute to talk about the infamous phenomenon that is the Motel 6 hotel chain? I mean sure they are arguably good if you’re on a budget, out in the middle of nowhere, simply need a place to crash for a night, or all of the above. Even so however, that doesn’t take away from the fact that the beds could be littered with bedbugs, the light fixture could fall on you in the middle of the night and give you a serious concussion, the only safe way to venture into the bathroom is with a hazmat suit, the TV is stuck on HSN, and (worst of all) the free breakfast is merely coffee and doughnuts that expired back when the series finale of M*A*S*H aired. Of course, I might be exaggerating a teeny tiny bit on a fair amount of those things, but you know what would make staying at such a place even worse? How about if you were stuck there in the middle of a torrential downpour all while you and your fellow guests were being stalked by a maniacal killer for reasons unknown? Indeed, and in case you hadn’t put two and five together, it is that key idea which was at the basis of a 2003 entry in the mystery thriller genre, and slice of cinema I happen to be reviewing for you today incidentally, known only as Identity. A film that not only utilized the exact scenario I described above, but which also, and long before 1408, showed why if John Cusack is staying at the same hotel you are it might be worth going a little bit further down the road when it comes to lodging purposes. All jokes aside however dear reader, there is no denying that while this slice of cinema might not be a perfect film through and through, there is nevertheless a fair amount of enjoyment to be mined from this here cinematic mine. Yes, the work in at least one key department behind the camera might be a bit on the lacking side and yes it does feel like studio interference definitely played in a part in the making of this slice of cinema. Even so however, I still am willing to say that Identity is one cinematic mystery that, with the aid of capable yet by no means stellar work both behind and especially in front of the camera, is one that you should definitely check out at the very least once even if you find yourself wishing that it could have been a wee bit better constructed script-wise to say nothing of perhaps a tad bit longer respectively.
The plot is as follows: Inspired by the iconic mystery story And Then There Were None by Agatha Christie, Identity gets its intriguing narrative afoot on a situation that has happened time and time before in the criminal justice system and is sure to happen again. It seems that a certain member of the criminal community by the name of Malcolm Rivers has been found guilty of a horrific mass murder and has been sentenced to execution despite the testimony of his psychiatrist, a Dr. Mallick and his attorney arguing to the contrary. In a remarkable twist of fate however, it seems that a vital piece of evidence has been found which could prove what Mallick and the attorney were trying to in court and which prosecution had inadvertently misfiled. As a result, a late-night hearing has been called by the court thereby giving the defense team a Hail Mary of a chance to try and save Malcolm’s life from departing this world the following day. While all of this is going on, we see that in a torrential rain storm, a group of 10 people all find themselves converging on an off the beaten path motel in Nevada. A group that, among its members, include a world-weary limo driver named Ed, the spoiled and vain 80s TV actress that Ed is driving, a family of 3, 2 young people who just recently tied the knot in Las Vegas, the more than slightly skittish and edgy motel manager Larry, a young woman looking for a fresh start by the name of Paris, and two other arrivals. Those being a hardened and determined cop engaged in a prison transfer by the name of Sam Rhodes and the convicted murderer that Rhodes is having to transport respectively. Yet as eclectic and seemingly diverse of a group this is however, it seems that they must have done something to really upset someone. I say that because not long after the group has been assembled at this motel so to speak does something weird and more than slightly unsettling begin to occur. Namely that members of the group start finding themselves being bumped off one by one by….parties unknown in a variety of ruthless and truly despicable ways. Thus can our intrepid group get to the bottom of this mystery, figure out who wants them all dead and why, but most importantly stop them before they all wind up no longer among the living themselves? Most crucial of all however what, if anything, does any of the mysterious shenanigans going on at this motel have to do with what is occurring at the hearing I mentioned at the beginning? Trust me when I say that by the time this slice of cinema’s story has concluded you most assuredly will know the answers….
Now right off, it should be said that the work done behind the camera on this particular cinematic outing is solid, but not exactly top of the line by any stretch of the imagination either. Without a doubt, this starts with the work done by James Mangold at the helm and honestly he doesn’t do bad work here (though to be honest I have yet to see a James Mangold film that I did NOT like), but this is also by no means his finest hour as a director. Indeed not only does Mangold still valiantly attempt to bring the same level of detail and sense of tempo to this film as he has all the others in his delightfully eclectic filmography, but he also does a wonderful job of ensuring that the cast of characters are always the main focus of the film. As a result, yes there is an engaging mystery afoot and yes people are being dispatched with in a variety of ways, but because of Mangold ensuring the characters are given the proper emphasis this really goes quite aways toward permitting us as an audience to really try and get to know plus empathize with them as people. The problem with this approach however has nothing to do with the work done by Mangold, but by a particularly distinct factor that also does quite the number on the overall quality of the film in virtually every department. That being that this slice of cinema is one that, not including credits, runs a solid 86 minutes long though in all honesty I feel that it should definitely have been given at least 20-30 more minutes to play with in regards to its overall runtime. I say this because not only does the narrative at play feel extremely rushed, but also a bit scattershot as well. On top of that, this quite short runtime also results in the decent-size cast of players not getting a whole lot of material to work with in order to help them really distinguish their characters in any meaningful way despite all of them doing good work with the material due both to the talent involved and to a fairly well-written script from Michael Cooney. Yes, upon viewing the finished film, you could argue that maybe that was the point, but even so the runtime does still give off the vibe of that infamous phenomenon known as “studio interference” at work. With that out of the way though, it should be said that the rest of the work behind the camera definitely does what it can to help reinforce the good directorial effort done here by Mangold. For instance, this slice of cinema also contains good work from Phedon Papamichael (1993’s Cool Runnings, 1996’s Phenomenon, and 2001’s America’s Sweethearts among others) in the cinematography department. Indeed not only does Papamichael do a terrific job of utilizing the camera in such a way that you feel like you are stuck in this predicament with the characters, but also at bringing a mercurial feeling of unease that is palpable right from the very first frame. Lastly, I definitely think praise should also be afforded to iconic composer Alan Silvestri for this film’s musical accompaniment. No, it’s not his best work, but even so Silvestri does a wonderful job of giving the film a delightfully understated score that knows when and when not to make its presence known during the runtime. Suffice it to say that when you also factor into the mix dependable work from David Brenner in the editing department and Mark Friedberg on the production design squad among others it’s clear that the work done behind the camera on this film might be flawed, but it still manages to get the job done all the same.
Alongside the dependable yet flawed to an extent work being done behind the camera, this cinematic whodunit is also aided fairly well by a collection of solid, albeit unspectacular, work in front of the camera by a game cast of performers even if the fair majority are not given nearly enough in terms of characterization though perhaps that was done on purpose. Without a doubt, this starts with John Cusack as Ed and he isn’t too bad here. No, there’s not a whole lot to this guy, but even so Cusack does a wonderful job of making him perhaps the most, arguably, competent and responsible individual in the group whilst also providing the character with a resourcefulness and likability that makes him worth rooting for as the film goes along. Suffice it to say it’s not his best work as a performer, but trust me when I say that it also definitely is not Cusack’s worst either. Not by a long shot. Along with Cusack, this slice of cinema also gives us a solid turn from the late Ray Liotta as Rhodes. Indeed Liotta was always a joy whenever he showed up in a film (or when he voiced Tommy in GTA: Vice City) and here he does a good job at giving us someone who is an equal blend of shady yet also seemingly upstanding thus ensuring that we are consistently left wondering what to make of his character to say nothing of his motives. Along with this dynamic duo, the film also provides audiences with an enjoyable turn from the always a delight to see pop up in something John C. McGinley (Dr. Cox on Scrubs) in the role of George York. Yes McGinley, much like Liotta, is one of the most underrated actors of his generation and here he does a good job at playing this meek and more than slightly timid yet gentle and quite tenderhearted man who, as the movie goes along, doesn’t really seem to want any part in solving the mystery unfurling around all of the characters. Rather, he just wants to do everything in his power to keep his new wife and stepson safe for reasons that I think are best left unsaid. Suffice it to say that it’s not the most three-dimensional role in the world, but one that McGinley brings to life in a way that, for the kind of film this is, is unexpectedly yet genuinely wholesome. We are also treated to a solid performance from Amanda Peet in the role of Paris. Indeed Peet, much like her peers, is someone I have felt to be quite the underrated talent and here she does a good job at giving us someone who is strong willed and driven to make a fresh start for herself yet, should the moment call for it, also not afraid to let her tough exterior down a notch and show the decent yet vulnerable person she is on the inside as well. Lastly, I definitely think this section would most assuredly be lacking if I didn’t take some time to praise the work done by John Hawkes (From Dusk till Dawn and Season 4 of True Detective). Indeed, as motel manager Larry, we see that Hawkes does a really good job of bringing to life a character that is an intriguing mix of affable yet enigmatic with just the right touch of sleazy about him as well. Suffice it to say that when you also factor in efforts from such performers as Clea DuVall, the always welcome Alfred Molina, Pruitt Taylor Vince, William Lee Scott, Jake Busey, and Rebecca DeMornay among others it’s clear that the characters definitely could have done with richer characterization on the written page, but the work done by this cast assuredly does what it can to help bring them to life on screen.
All in all and at the end of the day is Identity a perfect and flawless slice of cinema that is sure to stand the test of time now and always? Honestly no, but then again Alfred Hitchcock’s Psycho from 1960 this is not (though at the same time this also is NOT the 1998 Psycho either from Gus Van Sant so I guess it has that going for it…). With that said, is this the worst film that any of the undeniably talented individuals in front of the camera have ever chosen to be involved with during their respective careers? Thankfully, much to my stress level and I’s immense relief to say nothing of the more than mildly pleased Keurig in my kitchen, I can confirm that is not the case either. Not by a long shot. To be sure, this is definitely a film that, with an additional 20-30 minutes added to the runtime plus a few tweaks here and there on the script, could have been a genuinely gripping and great entry in the mystery thriller. As it is though, this is one slice of cinema that has to settle for just being “really good”. Indeed the work done at the helm is good, the cinematography is wonderfully tense, the story is actually quite intriguing, the twists are well-done, the score isn’t half bad, and the cast of characters (despite the lack of substantive narrative material and enough in the way of screentime) are all portrayed admirably well by a well-chosen cast of players no matter how much or little screentime they eventually wind up getting in the grand scheme of things. Suffice it to say then that it might not be the next masterpiece of the mystery genre, but even so there is no denying that Identity “03” is still one delightfully engaging little 90-minute lazy day cinema at its finest puzzler that is sure to keep you guessing right up until the very end. Just make sure when you watch it that it’s not at a Red Roof Inn or Super 8 with 9 other people in the middle of a rain storm with the potential to cause significant flooding on the roads. Trust me when I say that you might just thank me later. Make of that what thou will dear reader and remember: “As I was going up the stairs, I met a man who wasn’t there. He wasn’t there again today. I wish, I wish he’d go away.” On a scale of 1-5 I give Identity a solid 3.5 out of 5.
