Le cri du hibou

Withholding in the best sense of the word.

I started watching this movie laying in bed and by the time I was nearing the end all my blankets were twisted one way or another. And I admit, I did not even know this was from the guy who did The Talented Mr. Ripley, which I would probably have given a 6.5/7 after seeing in theaters.

This was an incredibly refreshing approach to a thriller. The settings subdued and passive, set up from the opening scene. The score was never Hitchcock, in that notion of action/suspense/surprise follows ominous cords. The cast all held something back that I couldn't quite place my finger on but by the time the credits rolled, wow... what a job they did.

The only thing I would say to those reading this-- If you like your standard Hollywood movies go ahead and pass on this (nothing is spoon fed). But if you enjoy those parts of a good novel that compel you to keep reading, then this movie will surely please.

I know the review is a bit vague, but watch this movie... If my words mislead you then feel free to come back and thumbs down me 2x.

I was drawn into this film by the uneasy feeling that the central characters were being drawn into a slow-sucking situational quicksand, an experience that for most of us only happens in nightmares.

If you prefer snappy pace and predictability in your films, move on. As the other reviews indicate, you either really like this film, or really dislike it for any number of reasons. At times I wanted to grab the "hero" by the shoulders and give him a shake to snap him out of his apparent lassitude. At that point I realized the movie was working for me, I was invested emotionally. Casting stays refreshingly clear of stereotypes with not a "pretty boy" in sight, and direction, performances and technical credits are mostly right on the mark.

This picture would have done so much better at the box office if it had let the potential audience know that Patricia Highsmith was the author of Hitchcock's "Strangers on a Train." For those of us not familiar with Highsmith's work, the title "The Cry of the Owl" is just too far removed from the essence of this film to be a draw.

So when you have the opportunity to see this film, relax, put your feet up and watch the first ten or so minutes. If you fall asleep, or find your mind turning towards undone kitchen tasks, then get back to "Jersey Shore" or whatever else gives your entertainment rush. If this film passes the ten-minute endurance test, you'll find it evolves into 100 minutes of compelling entertainment, destined to linger in the dark crannies of your mind for longer than you might expect.

"The Cry of the Owl" is a 2009 Canadian psychological-drama with thriller elements based on the Patricia Highsmith novel. The story revolves around Robert Forrester (Paddy Considine) who has a great job, but is in the process of a divorce and has recently moved out of the big city. He becomes intrigued by a random girl he spots at a country house and secretly gazes at her from the woods at night. A relationship eventually develops and the girl, Jenny (Julia Stiles), starts overly-monitoring him and he begins to regret the relationship. Meanwhile, Jenny's ex (James Gilbert) isn't happy about the situation and neither is Robert's ex (Caroline Dhavernas). The situation soon spirals out of control.

The story is fairly engaging and the actors are effective, particularly Considine as the protagonist, but the ending is ambiguous and left to interpretation. Regardless, the themes are intriguing: romanticism vs. logic, fate and fatalism vs. chance encounter, omens and signs vs. random happenings and the irony of role reversal or reaping what you sow.

It's not great and it's too pessimistic -- probably because it's really a tragedy -- but it's a solid psycho-drama with intriguing ideas that'll leave you pondering or scratching your head. The latter is why many people don't like it.

The film runs 100 minutes and was shot in Ontario.

GRADE: B

Robert Forrester (Paddy Considine) is struggling to divorce his vengeful wife Nickie (Caroline Dhavernas), and he starts peeping in on the simple isolated life of Jenny Thierolf (Julia Stiles). Then she catches him one night, but she invites him in. The stalker becomes the stalkee as Jenny breaks up with her fiancé Greg. Greg decides to fight Robert one night. Robert wins and leaves a drunken unconscious Greg by the side of a river. Soon after, Greg is reported missing and Robert is a suspect.

It's a good idea of dysfunctional people finding each other. Director Jamie Thraves just doesn't have the skills to elevate the tension and the drama. There is a lack of moody atmosphere that this movie desperately needs. I love all the actors involved especially Paddy. Dhavernas may be miscast as the bitch. That role needs a darker tougher chick. The potential is there, but the execution is lacking.

Mathilda May won a César for her role in this film made by Claude Chabrol in 1987. This is a remake, and it stars Julia Stiles in the role of Jenny. I have been in love with Stiles ever since The Bourne Identity, and, while she will not be as good as May, she is still Julia Stiles, and that's enough for me.

Robert's (Paddy Considine) marriage has failed, and his method of dealing with depression is to stalk Jenny, thinking she has a great relationship with her partner.

The tables get turned, and she begins stalking him. If that is not enough, her boyfriend Greg (James Gilbert) keeps trying to kick his arse. But, then he disappears, and Robert is under suspicion.

Twists and turns abound as Robert tries to figure out who is trying to kill him while everyone thinks he is a killer.

The owl cries a lot in the film. I'm just not impressed with Considine, and the ending was abrupt.