We have five men, all approaching middle-age and hungering for their inconsequential days of drinking and screwing anything in sight. They are Vince (Karl Urban), a married architect, Luke (Wentworth Miller), a married diabetic who finds himself going along with his friends more often than not, Chris (James Marsden), a married psychiatrist, Marty (Eric Stonestreet), a married, loudmouth alcoholic, and Phillip (Matthias Schoenaerts), Chris's married half-brother. In efforts to try and replicate those days, Vince gives each of his pals a key to a loft in a building he designed. There are only five keys made for this particular room, which mimics the design of a lavish presidential suite. Here, the men can unleash their wildest fantasies and never worry about getting caught. It isn't until Luke ventures up to the loft to find a nude woman murdered and handcuffed to the bed of the loft that things begin to unravel. With this, the men begin to reveal to each other, and their spouses, their intentions and their ugly path of adultery.
I'm always up for a good erotic thriller and Erik Van Looy's The Loft is serviceable genre-fare, by that standard. Van Looy apparently felt the story was significant enough to warrant a Dutch-language, Belgian adaptation in 2008 before working on this American version in 2011. Despite being shot in the summer of 2011, the film went through a shift in distributors when the head of Dark Castle Entertainment at Warner Bros. moved offices to Universal. After that, he sat on the film, choosing to release other projects and keep The Loft on the shelf until releasing it with minimal promotion during the dumping ground month of January 2015 in America.
On that basis alone, in addition to being an erotic thriller, a generally tough sell, the American version of The Loft is destined to bear some obscurity in future years. However, what makes this genre work is the elements of sexiness and contempt, which this film has in mass amounts. The erotic flare in Nicolas Karakatsanis's cinematography, heavy on the lavish details and the red textures, and John Frizzell's equal parts sensual and ominous score really make The Loft work for its genre. The contempt element comes in when we realize just how unlikable all of the characters are here. When we are lead down a path of twists and turns, most of which clearly written by the writing team of Bart De Pauw and Wesley Strick, it's clear we cannot trust any of these characters and that makes the experience that much more intriguing.
The Loft, however, has its own share of shortcomings, most of which come in the acting department. Without a doubt, for a mainstream release, this has some of the shakiest acting I have seen in quite sometime. James Marsden constantly feels awkward, giving a deer-in-headlights-esque performance throughout the entire film. His lines delivery carries a certain wooden quality, and isn't assisted by the likes of Urban or Miller, both of whom have their own share of overacting as well. Probably the film's most animated is Stonestreet, given his roly-poly nature, but the acting here brings the film down significant notches, especially in the more climactic sequences.
Furthermore, the downside of there being no likable characters makes it inevitably difficult to care what happens to anyone by the end of the film. While the element of distrust works wonders for the ability to resonate with characters in a film, it makes the outcome less impacting because you find yourself not rooting for anyone in the long run - not even an antihero but a series of unreliable, contemptible souls.
The Loft takes an underrated territory that finds itself charted less and less in the current day and tries to invoke it with some sort of life and substance. While it succeeds aesthetically, it's disappointing on a character level and on an acting level as well. The efforts to get this film a release in America likely wasn't worth the laborious process and the agonizing wait for a release.
Starring: James Marsden, Karl Urban, Wentworth Miller, Eric Stonestreet, Matthias Schoenaerts, Isabel Lucas, Rhona Mitra, and Rachael Taylor.
