O Terceiro Olho

Highly entertaining movie, admittedly derivative of old suspense melodramas, full of common places and clichés, but tightly done. I watched it because I liked other works by director Roland Suso Richter, but I was very pleased to also find Ryan Phillippe doing a fine job, with good support from Sarah Polley, Robert Sean Leonard, Piper Perabo, the three Stephens and the rest of the cast in supporting but key roles.

At its core, it is a family drama, an upper-class sibling drama, a tale of betrayal, blackmail, fatal accidents, and apparent insanity: actually more than a "time travel" film, as seen by some, it is a story told simultaneously in planes of the same reality separated by two years, the story of a young man who goes from the year 2000 to 2002, to put together the puzzle in front of him when he forgets his past, after an accident in which he lost his life for a few minutes and was resurrected by a medical team.

The adaptation from stage to film is quite remarkable, I cannot imagine how this was made in theater, and although it relies a lot on the spoken word it is highly attractive from the visual point of view, thanks to the contribution of the cinematography, and the art and design departments. Besides, the score is typical of the ones composed for this kind of suspenseful fantasies, but it effectively helps the evolution of the plot, building tension without overdoing its function. Recommended.

This is a little seen thriller and it's almost a shame, because it has quite a few good ideas. Some work, some might not work for you, but the overall story is very complex and very well told. It's not a movie, where you could say exactly where it is going. I don't think you could tell unless you had read quite a few articles on the film, which would be a shame.

But Ryan Phillipe does a great job, conveying this complex and very difficult emotional role he has to play. It's not only trying to keep up, where you are exactly (in the script), but in the overall structure of the movie. I know that some think that it does fall short towards the end, and I get the sentiment. But I still think the ending is pretty strong, to still make you rather like the viewing, than not.

Here is a film that will keep you wondering just what it's all about. For those who are into such movies, you're in for a treat. The familiar theme of going back to the past to "fix" certain wrongs is offered here with an engaging plot and a bang-up twist.

Simon Cable is a wealthy young man who wakes up in a hospital after some kind of accident in 2002, supposedly due to wood refinishing fumes. We soon learn that he has been in this hospital before, in 2000, which is when his brother Peter was killed. His wife Anna comes to see him but apparently was somehow involved in the cover-up of the truth behind Peter's death. All of this is unknown to Simon, since he has amnesia (or so his doctor thinks) and now believes he has lost two years of his life. It is here that we movie-goers become intrigued, and the attention-grabbing twists do not stop. Who is the blond woman Claire? What is the secret of Simon's brother's death? Why is his doctor unfathomably a pediatrician?

As Simon recovers from his accident, he seems to have flashbacks to 2000, filling the holes in his memory. Or does he? His doctor in 2000 makes a pretty good case that his mind is creating images that Simon feels are actually premonitions of 2002. Confused? Well, so's Simon, and we come to understand the "real" story in bits and pieces, just as Simon does. Eventually, he believes (based on a rather shocking incident during a "flashback" to 2000) that he can go back in time to undo past wrongs and, as in so many other films of this type, things do not go well.

Seen it before, you say? Well, this is a well-wrought presentation of the basic premise, with a possible murder and wife/mistress conflict, some good editing, and more than respectable acting, especially from Ryan Phillipe (Simon), who seems to be blossoming as an actor, or at least is getting better roles. This is a good thing, considering that Phillipe is in every scene, and the other actors all have rather small parts by comparison. Big-name actor Stephen Rea as Doctor Newman is nothing to write home about, but that may partly be because his role is relatively less significant to the total story. The role of Simon's brother Peter, played by Robert Sean Leonard, is even smaller, and Leonard seems to barely walk through it. However, watch for Stephen Graham's portrayal of particularly crabby heart patient Travitt in the year 2000 scenes.

In any event, go into this film with an open mind, and try not to compare it to others of its genre, most recently "The Butterfly Effect." The last few minutes of the film will make you rethink your comparisons anyway and leave you with a new confusion worth discussing at your favorite coffeehouse afterwards.

The first two-thirds of "The I Inside" are fantastic: very intriguing and engaging, recalls "The Butterfly Effect", "Jacob's Ladder" and "identity", just to mention three similar movies. The situation of Simon Cable resuscitated without memory in the hospital in two different years is disclosed like a puzzle, and I was mesmerized with this film. Unfortunately, it seems that the screenplay writer raised so many weird situations that he was not able to conciliate all of them in a satisfactory ending, and indeed the plot has a very disappointing conclusion. I regret and feel sorry, since this movie could have been a masterpiece of the genre. My vote is eight.

Title (Brazil): "O Terceiro Olho" ("The Third Eye")

Evidently The I Inside is not due for release in the UK until 2005, but Frightfest in London screened this on 28 August 2004.

This starts off very promising, with Ryan Phillippe's character Simon Cable regaining consciousness in the year 2002 and again in 2000, not entirely sure what he has been doing with his life during the two intervening years. The first couple of "switches" between time-lines succeeded at dis-orientating and jolting the audience admirably, but after some meandering, the "switches" become relatively tedious and gratuitous, and I felt that they did little to further the plot.

The periphery characters all do a sterling job at providing a sense of unease (Piper Perabo is pretty outstanding), but after Simon has "switched" years several times, I found it difficult to retain my attention. By the final denouement, I was past caring, and noticed only with a passing interest that the ending was incredibly similar to another memory-loss psychological thriller from the mid-nineties.

Perhaps I just watched too many films of this sort for my own good? If only I had suffered my own personal memory loss and forget The Butterfly Effect and Jacob's Ladder, then perhaps I would have enjoyed this more.