Let’s get this out of the way right now: In The Gift, Jason Bateman plays a character who is actually named Simon Cowell, like American Idol Simon Cowell. The writer (in this case, Joel Edgerton, who also directs and acts in the film) could have picked literally any other last name and it would have been less distracting and ridiculous.
Simon Jones. Simon Pegg. Simon Shrek the Third. Even Simon Joseph Stalin Buttface would have probably been less unfortunate.
But at least that’s my only major complaint with the movie, and the rest is good news.
I though that The Gift looked pretty terrible, based on the marketing. The trailer presents a generic thriller, with haphazard jump scares that feel meaningless, cheap and cheesy without context and a poor explanation of the story that presents nothing fresh. I wrote this film off pretty quickly, but Internet buzz (along with a persistent girlfriend) convinced me to give it a chance. It turns out that The Gift is one of the more refreshing cinematic experiences so far this year.
Jason Bateman stars as Simon Cowell and Rebecca Hall stars as his wife, Robyn. The married couple seems happy enough as the pair move back to Simon’s hometown, buy a new house and prepare to start a family. But one of Simon’s high school acquaintances, Gordon (Edgerton) reappears in his life, and then things start to get real weird. Gordon appears at their house, bringing unwanted gifts and overstaying his welcome. It quickly becomes clear that Simon and Gordon both have secrets and agendas that are related to one another.
The question quickly becomes, Who is really the oppressed and who is really the oppressor? The movie spurns your curiosity at every turn and it really does keep you on the edge of your seat.
The first few scenes do a great job of balancing the line between awkward and creepy at the hands of Edgerton’s character. Something is definitely off with Gordon, but it’s also believable that Simon and Robyn wouldn’t immediately say, “Aww hell naw!” to this weird guy who may just be friendly, if a little socially awkward.
Edgerton, who you might know from Warrior, The Great Gatsby or Zero Dark Thirty, gives a commendable performance. As his motivations are slowly revealed, I was always eager to learn more and I had only a vague hunch of where the story was going. His writing brings with it some unique ideas and a worthy final twist.
Bateman is obviously better known for comedic roles in works like Arrested Development and Horrible Bosses, but he shows his range here as he makes the audience question Simon as much as they do Gordon. Is he the compassionate victim or is he the real asshole? The answer is worth finding out.
Hall’s acting is also good, but it’s clear the writing for her character isn’t as strong. She’s a pawn off of which the other two can play more than anything, but the insight we get into her backstory is also somewhat satisfying. Hall is much more memorable in Ben Affleck’s Boston bank robber drama, The Town, and Woody Allen’s Vicky Cristina Barcelona.
The aspect of The Gift that perhaps stands out the most to me is that it always feels grounded in reality, as if everything onscreen could realistically happen. It doesn’t rely on supernatural elements or convoluted plot points to create suspense. It’s a believable thriller and that’s a hard task to pull off.
The Gift’s raw nature, strong performances and satisfying twists make for a movie that’s almost worthy of being called great. I hope Edgerton gets more opportunities to write and direct; he shows promise here. It isn’t necessary to see his debut in theaters to get the full effect, as it would work just as well curled up on a couch, under a blanket and with the lights turned off. But it’s worth taking the time to see it somewhere, somehow.
Seth Birkenmeyer 