![]() He almost leaps out of the screen and into the front rows of the cinema. He was great, I’ve got a real soft spot for Ryan he’s very, very talented and everything is so, so intense when he is acting. They go home at the end of the day and don’t take it with them. They sort of eliminate their moral consciousness and they are just doing it as a game, as a job. I said to one of them, ‘How do you feel if get someone a verdict of innocent who in your heart feel is guilty’ and she said ‘Well I’d just say the prosecution didn’t do their job well enough’. I talked to these very high-powered women. attorneys in more respectable terms and actually went out for dinner with them. So then I decided I’d better back track, so I went away and I met some L.A. I was taking photos of them with my digital camera – I’d just got this new camera – so in other words I was looking like some absolute freaky stalker! I was following women around taking their pictures and people started looking at me really funny, as you would! It was a mixture between having a new toy and trying to do research and thinking I could combine the two. You don’t see very many people having lunch together or having much time to talk, it’s all very practical. They’re all very solitary down there, you know. So I hung around there, looking at women and seeing what they did for their lunch and seeing how they act. quite well, but not the downtown business district. But in this case it was the cast and the director and the actual quality of the writing. It’s usually a character, you know, who has something I really feel I can have a secret about and kind of find my own way of creating. I’m about to have another summer playing another long suffering woman again, so it’s quite fun to play someone who doesn’t let herself be in that position and is the alpha female. I’ve played a few victims recently, I’ve just done A Summer In Smoke, a Tennessee Williams play, and my character suffers in it. I love that they don’t shy away from production - it’s a high gloss look at L.A. I really wanted to do it because I thought this was the kind of film he would do really well. I knew that Gregory Hoblit, the director, had shot Primal Fear, which I thought was just an amazing thriller. It’s the kind of film that I love to go and see and it’s the kind of film I feel that hasn’t really been around for a while, you know really clever and intelligent – a psychological thriller. Well it was more the film than the character. Not broken exactly, but more, ahem, fractured.You've said you’re very different to your character. He’s just a cog and the film is just a machine, slick but soulless and with parts in need of a touch-up. Worthington, an actor of astoundingly limited range, makes for a bland Liam Neeson replacement but since his character spends most of the film confused and given how overstuffed the film is with plot, his vacant expression doesn’t prove to be a major distraction. Given the familiar territory, it’s less a question of “Where will this go?” and more of “Which similarly plotted film’s twist ending will it most closely resemble?”, a less surprising game but a fun one nonetheless. ![]() It never feels like much of a stretch for him but it’s also never less than watchable thanks to some unexpected directorial choices and a curious, compelling mystery at its centre. Fractured sits comfortably alongside, probably closest to Transsiberian and The Call, with the wintry bleakness of the first and the involving propulsion of the latter. After two indie romcoms, he moved over to, and has stayed firmly on, the dark side, giving us eerily effective lo-fi horror (Session 9), dank and dreary neo-noir (The Machinist), snowy Hitchcockian suspense (Transsiberian), glossy race-against-time action (The Call), intriguing political espionage (Beirut) and gothic period chills (Stonehearst Asylum). Is Ray losing his mind? Is the hospital part of a sinister conspiracy? Is Sam Worthington able to emote?Īnderson’s career is populated with closely filed genre variations. Oh, and just to make things worse, the hospital claims that they were never there in the first place. His daughter is sent for a scan, accompanied by his wife as he’s told to wait upstairs, but hours later, they’re nowhere to be found. But after dealing with the horrors of medical insurance (the film offers up a rarely dramatised example of the grinding bureaucracy involved with paying for one’s healthcare), Ray is faced with something far more horrifying.
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