Retreat

"Retreat" started out as a tight, minimalistic indie thriller, maintained the well written characters, and then added in some intriguing mind games played out beneath the surface. And then it devolved into a blood-fest of science fiction diseases and government conspiracies. I was riveted for the first hour and twenty minutes and then sat agape in frustration for the last ten minutes.

Martin (Cillian Murphy) and Kate (Thandie Newton) are a married couple seeking an isolated retreat. A log house on a remote island which they have been to before but not since their marriage has deteriorated. Kate thinks it is irreparable; Martin thinks he just has to apologize one more time and everything will be perfect. Then an injured soldier arrives at their door and they proceed to take him in.

Before they know it, he has locked them inside the house. Not to kill them, but to save them, or so he says. We're pretty sure he's crazy, husband and wife are pretty sure he's crazy, until sleep-deprived Martin starts falling to his insane argument. Something about there being a disease outside and if you breathe the air around an infected person, you die. Well, you cough up blood and then you die. As I said, we're pretty sure he's crazy, and this is just the type of thing that crazy people say.

The fascinating parts of this film involve the soldier convincing Martin and Kate that the threats are real, Martin seeming to believe him, Kate getting angry, and then Martin just wanting to take care of his wife and save their marriage. The majority of this takes place inside the house with only three characters. Let the mind games begin as each character tries to figure out what they want, how to get it, how to do it alone or with somebody else.

When we approached the end, I was playing along with their game, trying to predict each twist and turn that would take us to the satisfying conclusion. I did not guess correctly as I was not predicting the many twists that each character would take with their final, almost final, maybe final, and then their final final dying breath. If that sounds ridiculous, wait until you hear what was really going on. The ending would suggest that "Retreat" was one of those stupid horror movies built for blood and laughs. This is extremely disappointing because the rest of the movie suggested that it was one of the best indie thrillers around.

I had pretty high expectations for Retreat because:

 A. I'm a big fan of both Thandie Newton and Cillian Murphy.

and...

B. I like thrillers in general, and it's been a while since I've seen a good one.

And does it live up to those expectations? Not particularly. It's certainly a tense movie, with a menacing stranger showing up at the remote island vacation cottage of a couple, bringing with him frightening tales of a global pandemic. They mustn't leave and they must seal themselves away inside the cottage to avoid the certain death that outside contact and infection brings... according to him. But, is he telling the truth? Is the threat really the world outside, or the man in their home?

There's a twist or turn near the end that keeps Retreat from being strictly as predictable as my description might have lead you to believe, but whether that makes the story any better is up for debate. Personally, I found it to be somewhat underwhelming once it was all revealed. 

Retreat does keep you guessing about what to believe, to a certain extent, but I can't say that I "enjoyed" watching the movie. The characters are all flaws and bad decisions, with no real reason to invest in them and hope they survive whatever threat, be it viral or human, that may endanger them. 

The acting is nothing special,  thanks to a pretty pedestrian script that lacks any semblance of nuance. The tragedy that brings the couple to the cottage has no real relevance to the story, which makes it nothing more than pointless backstory. Their history is brought up in careful detail, only to never lead anywhere. Murphy's character is written to be such a weak and passive man that it borders on caricature and Newton's has two emotions, unhappy and afraid (though she still manages to be absolutely beautiful). Jamie Bell goes overboard on the menace and danger, when some ambiguity would have served both the character and story much better. 

This was definitely a flawed experience for me. I didn't dislike the movie, and as I said, it can be quite tense at times, but it just seemed off in several ways. The word "underwhelming" comes to mind.

Kate (Thandie Newton) and Martin (Cillian Murphy) go to the isolated Blackholme Island off Scotland to escape London. They were there back in happier times in 2002. They are struggling with marital problems about a miscarriage. The power goes out. Martin is injured while trying to fix the generator. They call Doug for help on the radio but they get no help. Then they find a bloodied unconscious man. The man claims to be Private Jack Corman (Jamie Bell) and that there is a deadly worldwide airborne flu. The couple is suspicious of the erratic Jack.

The trio try their best to make an intense psychological thriller. The main problem is that the movie has one tone and one gear. It's steady and unrelenting. Jack doesn't change. He starts off scary and stays there. It may be more compelling to start off sane and build to crazy. It's intense but it feels like a manufactured thing. It's not realistic that Martin believes anything Jack says. Jack is basically acting like a paranoid mental case. There is nothing to prove his case other than his word. The movie needs to give the audience the permission to believe in Jack but it never does.

Could have been a 7, instead is a solid 6. The twist is impressive, don't believe it has been done before. The 2nd half is much better than the first, I'm glad I stuck with it.

As a debut writer/director, Carl Tibbetts' "Retreat" is a well made psychological thriller with steady increase in pacing that generates an atmosphere going from brooding to disturbing. Only accessible by ferry, the story unfolds on a little island off the coast of Scotland where a married but childless couple rents a rustic cottage. Soon after their arrival on the island, it is evident that Kate and Martin have seen happier times. A journalist, Kate is withdrawn but reveals through her writing that a previous miscarriage has caused a rift in their relationship. In an effort to rekindle their marriage, Martin tries to put the past behind, hoping happy memories of their previous stay on the island will seal their marital wounds once and for all. But as it seems, things get from bad to worse when their only contact with the mainland – a CB radio – malfunctions, and the cottage's power generator chokes out. Amongst all this, an injured soldier arrives on the island and amplifies their predicament, stating that an air-borne virus is rapidly sweeping across Europe. Claiming the outbreak to be extremely lethal, Jack proceeds to board-up the cottage from the inside, even as it dawns on Kate and Martin that their strange guest is becoming increasingly hostile.

Although widely comparable to the Nicole Kidman-Sam Neill thriller "Dead Calm", Tibbetts' work here is mostly captivating, relying heavily on portrayals from Thandie Newton and Cillian Murphy as the couple, and Jamie Bell as the antagonistic intruder. As such, acting is the pivotal structure steadily holding up the plot build-up. Bell is particularly impressive as an alpha male that goes on to challenge Martin's manhood right before his wife. As soon as Bell's character enters, we know the premise calls for psychological confrontation as two men try to outsmart each other. Add to that a fragile and hurting woman in between, and the stage is set for a tension built battle for survival. Tibbetts' screenplay also affords equal opportunity to Newton and Murphy as they each share moments of power in trying to outsmart Bell's Jack. This is evident that although there is a growing wedge in their relationship, previous problems diminish in size when faced with what they must now do to protect each other and their marriage.

With a good part of the plot carried out within the confines of the cottage, Tibbetts succeeds in holding on to the viewer's attention despite the fact that single locale films can become boring. Besides the aforementioned acting, what works for Tibbetts is the premise – a broken married couple alone on an island, faced with a life threatening situation where they are forced to reconcile their past, or die trying. With all the twists and turns in the second half, Tibbetts gives hope to the audience while simultaneously tightening the noose around Kate and Martin. This alone reduces viewer predictability while also giving the ending a disturbing albeit open-ended finish. Personally, I was hoping for a satisfying ending, but as it seems, Tibbetts may have had other things in mind like connecting the viewer with his characters and then brutally severing that connection; its like saying hope is as useful as a missed opportunity.

All things considered, this movie is a decent attempt for a film maker writing and directing his first movie. For a thriller, plot twisters keep gnawing at the nape of your neck, with some good acting swelling said plot with tense moments. Curiously, the ending may disappoint some viewers, especially those who are optimistic about feel-good endings.