Eclipse, The (2009)
★★ / ★★★★
A widower (Ciarán Hinds) with two kids started seeing ghosts of his father who was still alive. Coincidentally, two authors (Iben Hjejle and Aidan Quinn) arrived in the widower’s town to promote their novels, in which one of the authors had characters that had to deal with their own ghosts. This was a strange film because although it had elements of classic jump-out-of-your-seat horror, it also tried to be a story of a man who was still grieving over his wife but at the same time wanting to move on even though he had no idea how to start. I didn’t think it managed to do either effectively because the tone was too melodramatic and the characters became stuck with their own demons instead of eventually rising above them. I rooted for the characters because I believed they deserved to be happy, but the material desperately wanted to do something very different to the point where I wasn’t sure if it knew exactly where to go. As the picture went on, I became frustrated with it. Written and directed by Connor McPherson, there were some interesting motifs in the movie such as the director’s use of framing his characters in mirrors. I constantly wondered what he was trying to tell his audiences. Did he mean that the characters were fragile? Were the audiences only seeing the surface of the characters despite the characters addressing their histories? Were the characters harboring some sort of dark secret in which all of them were connected to? I was very curious with the director’s technique but in the end I found no answer that satisfied my curiosity. Instead of slowly opening up, I found the movie becoming more reserved and I felt less connected with what was going on. Instead of spending too much time with the attraction between Hinds and Hjejle, I thought the film would have been more effective if it focused on the relationships between the widower and his children, the widower and his wife, and the widower and his father, while using the authors and the characters in their respective novels as some sort of foil for the lead character. A more confident and clear balance between horror and drama was much needed. The horror elements could have been used as a metaphor with what the widower was going through. The ingredients of making a great film were there (it certainly looked poetic) but I think the execution was not as effective as it should have been. It needed more tension and a sense of urgency if it was going to retain the viewers’ attention.
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