Zipper

Not much of a thriller if you ask me. Maybe for the Americans it is but for a Belgian like me it isn't. And by that I mean that here in Belgium we could not care less what a politician does in his private life. If he cheats on his wife then that's his problem and certainly not ours. As long as he does his job like he should it's not of our concern. And that's the big difference between puritan America that loves their so called scandals and Europe where privacy still means something. So to me the movie was just kind of boring. Not bad though, just average, nothing to be thrilled about. And that's just about the story because the actors were good, nothing bad to say about them. It's just the story that lacks of action and entertainment. Well that's my opinion about it. American reviewers will probably not think the same because they are used of the whole brainwashing circus that is going on with their elections and political campaigns. And that's a pity.

First, let me reveal that I think Patrick Wilson is one of the most under-appreciated, naturalistic actors working today. His pairing with Kate Winslett in the film of Tom Perotta's brilliant "Little Children" was sublime. I even liked him in Joe Carnahan's over-the-top (but still lovable) "Stretch". So when I read the summary of "Zipper" and knew he played the lead, I had to see it, despite the uniformly negative reviews.

Mora Stephens' film revolves around a seemingly straight-laced upstanding guy, Sam Ellis (Wilson), who --- perhaps subconsciously --- lets his sexual addiction spin wildly out of control only a few months before being prepped for a senate seat bid. I say subconsciously because there are a lot of indications, through the script and Wilson's largely underplayed performance, that Sam's not a real happy guy. His "career" has been architected and steam-rolled by his passive-aggressive wife (Lena Headey), their marriage is on the rocks (though on the surface it seems fine) and he's constantly being given the stink-eye for even mentioning ethics to his jaded boss.

Wilson imbues Ellis with so many shades of gray and doubt that it really is quite riveting watching him unravel, back-pedal, and flail madly as his world threatens to crumble around him. And that's really all there is to this movie. It's a potent character (not plot) piece on the subject of addictive, compulsive behavior and sex addiction in particular. It really treats the dysfunction as just as potent an urge as the one a junkie craves in hard drugs. You can *see* the helplessness and frantic drive in Wilson's face and really believe that he believes he *has* to surf to that porn site, he *has* to call that escort... in his mind he has no alternative.

This is brave, unflinching stuff and not many people will empathize or even care to see such repugnant behavior in action, yet Stephens and Wilson don't spare us anything, even a brutally uncompromising, cynical, and quite believable ending.

It's amazing that people say things like "How could Ellis be so dumb?" Like ANY kind of addictive behavior is something people actually sit down and mull over, weighing the pros and cons, before getting their fix! Do addicts have the control to change their behavior? Of course. They just can't conceive of it. And that's the point of "Zipper".

"Zipper" made me think a little about "House of Cards", despite having seen just a few episodes from the first season. Its political theme, unmeasurable ambition and unscrupulous individuals. On those parameters, "Zipper" succeeds on presenting complex and divided characters, whose ultimate goal is a seat in power.

Patrick Wilson and Lena Headey both stood out. I'd never seen one of his films fully and I was kind of surprised with his acting and commitment to the role. After seeing Headey on "GoT" I wasn't surprised with her acting, because, at some extent, in this one she plays a modern version of Cersei Lannister - the cheating husband, the obsessive care and protection for her children (its all there). They both are great on their respective roles, portraying a troubled couple, which has been married for a long time and in which routine is deeply established. They have the chemistry and the acting chops.

Aside from the main actors, we have Ray Winstone and Richard Dreyfuss with particular small roles but roles which give the movie more credibility. The feminine cast is a committed one, not afraid of touching the level of soft-core porn on some scenes.

In what concerns directing, I must say I liked the overall look of the movie, very sober and clean, but above all, real. The script is well- written, with well-developed characters. The ending,in general, is somewhat predictable but the last scene, well, the last scene, simply wasn't and reveals the intelligence of the filmmaker.

Why take the risk?

"Zipper" is a good movie to watch, pretty good performances and well- directed.

This film tells the story of a married lawyer with a promising political career, who gets side tracked by experiences with ladies from an escort agency.

"Zipper" keeps me engaged because the I like the story. The first half is more erotic while the second half is more of a thriller. How Patrick Wilson does a good job portraying his character, who lets his urges overtake his sensibility. His guilt in the diner with the reporter is piercingly good. I think the story is well presented, easy to follow and engaging. The scenes are nicely shot as well. I enjoyed watching "Zipper"!

Have a hankering for those 1990s sex thrillers involving powerful people drawn into sordid, beautifully-lit clinches that threaten to tear apart their career and their family? Welcome to Reckless, which has been blandly renamed from "Zipper" in the US.

This straight-to-DVD thriller – partly based on the exploits of governor Eliot Spitzer in 2008 – has an intriguing setup which grows increasingly tiresome as the story wears on. Patrick Wilson, who has the greatest fake smile in the business, plays ambitious state prosecutor Sam, and he has his eyes on congress. Unfortunately he also has his eyes on the ladies, and he's willing to risk his marriage to the suspecting Jeannie (Lena Headey) in order to get his end away with a series of escort girls.

Meanwhile George (Richard Dreyfuss) is grooming him for life at the top (and life under the microscope), while a wily journalist (Ray Winstone) rifles through his private life. The drama lies in Sam's face as all these pressures – which exist in a highly competitive and masculine world – bear down upon him.

Boo hoo, you might say, and you'd kind of be right. While Wilson is talented and nuanced enough to help us relate to this reprehensible talisman of white male privilege, the film itself seems unsure of where its sympathies lie, or indeed what the story is really about. Ostensibly it's interested in the fallout of adultery and the radiation of guilt, but it never goes deep and it's strangely boring.

The meaning of fidelity in the modern world has been intelligently explored in some great movies, from Eyes Wide Shut to Gone Girl, but Reckless comes across as mimicry, resembling its peers only in the most superficial ways.

The neorealist aesthetic, with its ridiculous saturated colouration, resembles David Fincher or Steven Soderbergh, but the dramatic content only matches the latter at his most indulgent. The serial killer score adds to the tabloid self-importance of it all. The problem with this sub-genre is so often that it suffers from a lack of awareness of its own absurdity.

More than once we get a risible speech suggesting that really all human beings are like this, deep down, and that the only difference is that those in the public eye are unfairly held to a higher standard. Never do we get the counterargument: that Sam and his ilk behave this way out of some other impotence, or that their lust for power and sex are two sides of the same character trait.

Wilson carries the film, and he's supported by a very fine cast. Headey is solid in the role of Sam's formidable wife, while a miscast Winstone makes the most of a slightly thankless supporting role. Then there's Dreyfuss, who appears to be acting in a movie far smarter than the one we're actually watching. Also, John Cho needs to be in more films.

But none of the cast can elevate such hackneyed material. Shoot it however stylishly you want – there's no escaping the clichés of punched steering wheels, illicit phone calls watched from windows, and dead-eyed faces sinking in baths. It's a film to be found when flicking channels, and one to be forgotten within seconds of flicking again.