WIRED SHUT

As an operating principle, "Wired Shut" primarily concerns itself with tension. Atmospheric tension, character tension, and story tension. Under the masterful direction of Alexander Sharp, these tensions slowly burn, sizzle, and then finally pulsate in the culminating stretch of the film. Mismarketed as a slasher overseas, this film instead is actually a home invasion thriller framed within a forlorn family drama. There are sprinklings of horror elements, but the film's overall approach is clear. The beating heart of "Wired Shut" resides within the strained relationship between emotionally isolated author Reed Rodney (Blake Stadel) and his estranged, resentful daughter Emmy (Natalie Sharp). Before the film elegantly introduces its genre elements, it first sets its sights squarely on a character based framing question: can these two flawed, damaged individuals pick up the pieces of their broken connection? Sharp examines this question under the same magnifying glass that hovers over the later cat-and-mouse tension of the home invasion sequences: silence. Not only the literal silence of Reed's wired shut jaw, but also that of what is left unsaid between him and Emmy. Writer Peter Malone Elliott's words lend strong life and intent to the characters as they vocalize their feelings through dialogue, but it is often just as powerful what these characters convey and hold back without saying a word. This is a testament not only to the writing and direction, but also the strong performances of Stadel and Sharp. Stadel's restrained, understated performance allows Reed's yearning and guilt to come through in quietly brilliant ways. Sharp wears the chip on Emmy's shoulder firmly on her sleeve, bringing her character's emotionally vulnerability to the surface in brazen fashion. When the film does shift into its thriller trappings, it introduces the piece's most wildly entertaining element: Preston, played by Betash Fazali. I will not get into the details of who Preston is or why he is there in a story sense, but I will touch on Fazali himeslf. He bursts with manic, evil energy that rattles between polarities of fiery intensity and hushed madness. For his performance, people may fall in one of two camps: either turned off by its "11/10ness", or enthralled by its unbridaled and committed kineticism. Sharp and Elliott have cited that the inspiration Preston came from Robert DeNiro's Max Cady and it shows. He is a thrill to watch and rounds out the triumvirate of great and very different performances that populate the film. I would be remiss to not mention the technical aspects of the film that elevate its thrilling sequences. The photography and music drip atmosphere. Droning synths, rumbling tones, and sharp chords pervade the elegantly oppressive soundtrack. Meticulously framed shots are drenched in moody lighting and coated in sickly green and cold blue coloring. The editing breathes steadily burning tension and anxiety into the propulsive third act and allows the subtext room to blossom in the first. "Wired Shut" has a look, feel, and rhythm that cannot be denied. For a thrilling and chilling self-contained genre piece with a palpable emotional core, look no further.

Reed Rodney, a burned-out, best-selling author, his jaws wired-shut to recover from a car accident, sits alone in his sleek mountain mansion, unable to talk or find the storyline for his next novel, his expression as haunted as it is bruised from reconstructive surgery. His estranged daughter, Emmy, appears at his door, brittle, sardonic. To reconnect? Or is there an ulterior motive simmering under her slightly belligerent offer to help him get through his recovery? What follows is a deliciously suspenseful character-driven thriller in the best festival-indie and Hitchcock traditions. Reed and Emmy warily circle one another, hints of her antagonism bubbling up and then vanishing as Reed struggles to find a way to resuscitate the relationship he squandered. Tension between them and the audience’s sense of unease about Emmy—that something more is coming—builds subtly. The writing is wondrously crisp and distilled to be minimalist given Reed’s wired-shut silence--a poignant symbol of what he has wrought and come to. Each succinct exchange resonates with the palpable emotion of past untold hurts, rancor, and regret. Moments of droll humor punctuate the friction, building our sympathy and on-edge fascination with both father and daughter. So we are completely engrossed when things suddenly boil over in a gasp-inducing surprise with the appearance of Emmy’s boyfriend, followed by one startling, terrifying moment after another as the film races to its shocking climax. Visually stunning as well, the film is filled with icy blue and gray light, beautiful long shots of the surrounding woods and elegant glass house to augment Reed’s literal and metaphorical isolation, deftly timed pauses, and disorienting camera angles ala the classic movie, Vertigo. The world-building is masterful. A stunning and thoroughly enthralling debut from this gifted screenwriter-director duo.

The movie is very minimalist, and after a power failure at the house, dark for major portions. I use subtitles while watching since sometime the music overwhelms the dialogue. In this movie, there were always howling winds outside (noted in the subtitles), and giving a constant noise inside. Except, when anyone was outside, or looked outside, trees or bushes were hardly moving. It did not take long for this to become very annoying. Reed Rodney is an author, having writer’s block, and his prior novel got panned. He is in a remote mountain home, not rustic at all. He was in an accident, and has his jaw wired shut, and takes nourishment through a syringe. His cheeks are very rosy red, and his beard stubble has a yellow cast, which also gets off-putting quickly. He has a sad hangdog appearance. He is estranged from his wife, but soon along comes his daughter Emmy. It comes out that he is a terrible father. And Emmy was not visiting just to say hello. And that is where the plot starts. At times of suspense, the music chosen seems also annoying. The movie is extremely slow paced. It is also not a good movie and a total waste of time. Nothing new.

I love atmospheric but this was unlistenable, that wind sound was too irritating. More wind sound indoors in this movie than movies that take place outdoors in the wind. To whoever was in charge of the soundtrack, there is such a thing as the art of subtlety. Even some use of dynamics would have helped. Had to mute the sound so the movie ended up becoming background while I was doing other things. The story looked good.

Very good overall!

Behtash Fazlali, the guy playing Preston? OMG -- a modern day Max Cady on steroids. And Blake Stadel, playing Reed, who can't say (or scream) a word? It's all in his amazingly expressive eyes. Natalie Sharp, playing Reed's troubled, wayward, inscrutable daughter, is absolutely brilliant. A taut, tense, moody, alarming thriller you don't want to miss. Can't wait to see more from screenwriter Peter Malone Elliott and director Alexander Sharp.