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There are many good things about The Machinist that are well deserving of praise. The very atmospheric nature of the film is supported very strongly by excellent performances all around. Christian Bale takes things to the extreme in his embodiment of his character. It is hard to take seeing him in his near-starvation body mass, which elevates the tension of this piece even further. The storyline leaves a little to be desired. While it creates its mood excellently, it does tend to plod along a little too much.

One thing that does stand out is how reminiscent of Alfred Hitchcock this film plays. Almost everything about the film screams Hitchcock, from the editing of certain scenes (the driving sequences are very much in the style of Psycho) to the Bernard Herrmann-esquire score (lots of bass clarinet), the lack of fully-exploring/revealing some of the creepier points of the film (what is dripping from the fridge?), and the washed out, grainy photography. If you want to see what a film would look like if Hitchcock were alive to film it today, this is the closest thing you could probably come across. And if that was part of Brad Anderson's intention in directing this, I have to commend him on the execution because it is uncanny.

Overall, I would recommend this film, but not to casual movie-goers. This is very much a movie-phile experience for those who appreciate character development and cinematography as much as plot points and a storyline that can be defined and followed from one action to the next. In that way it is closer to films like Magnolia or the Others, where the apex is the characters. If you are looking for a typical popcorn Hollywood thriller, this is not what you are looking for.

a memorable character. his sin. his truth. an one of the most fascinating roles for Christian Bale. The Machinist reminds Crime and judgment. but it is not an adaptation. only a great trip in heart of strange existence, obscure crisis of a man who , step by step, becomes a shadow. a film about truth. as revelation. as key of freedom and source of sense. a film about love but not exactly in the terms of Raskolnikov - Sonia's terms. admirable exercise about honesty. and about the cage of the past. a film who must see it. for artistic virtues. for inspired script. for performances. and for a motif who remains secret long time after its end.

THE MACHINIST (Brad Anderson - Spain 2004).

Christian Bale is Trevor Reznik, a machinist in an anonymous factory somewhere in America. He is obviously scarred by some past incident but what is it? He finds mysterious notes on his refrigerator, saying 'who are you?' He sees colleagues that don't exist. He seems to have lost it completely.

A Spanish production, but with Brad Anderson at the helm as director and an almost exclusively American cast, this is basically an American film. I must admit, I kept shelving this one, due to reasons I cannot really recall now I've finally watched it, but it probably had something to do with Christian Bale's insane weight loss and all the surrounding publicity. I assumed the film was all about Bale's loss of weight and not much more. A method boy in a film solely hyped for an actor's dedication to play the part, but the film blew me away, as simple as that. Christian Bale gives a solo turn here almost unseen before. No matter how many pounds he lost, it's a remarkable performance.

Director Brad Anderson succeeds brilliantly in conceiving an atmosphere that is so compelling, as one other user on the IMDb stated, 'You just HAVE to know what the hell is going on here.' I think that's the key factor in what makes this film so incredibly compelling. The whole setting is an anonymous industrial town somewhere in the US, that could be Pennsylvania, Michigan or upstate New York (actually, it was shot near Barcelona), but it doesn't really matter where the story is located. It's the atmosphere of estrangement that does it. And Christian Bale gives such an intense performance you really want to know his cause and background. Where on earth does he come from? We know he works in a greasy factory, but why is he skin-over-bone? Why hasn't he slept in over a year? Brad Anderson creates an atmosphere so broody and sleazy, it's like a netherworld, an urban nightmare. In a certain way it reminded me of the strange urban landscape in "Eraserhead" by David Lynch.

Camera Obscura --- 9/10

"The Machinist" demonstrates that "Session 9" wasn't the only creepy thriller that Brad Anderson could do.

While M. Night Shyamalan and commercial fare like "The Grudge" get the attention and the big bucks, Anderson is quietly mastering disturbing, psychologically scary shockers. While the previous movie took advantage of our imaginations leaping around a spooky environment, "The Machinist" makes our discomfort palpably visual in Christian Bale's painful to look at body, as his character is ravaged by insomnia and loss of appetite; by the end of the movie it's shocking to see his normally handsome face.

But all the focus on his astounding weight loss takes away from the other elements in the almost black and white film that make it a scare fest. The movie establishes "The Twilight Zone" mood immediately with the soundtrack, which includes generous use of the theremin, as Hitchcock did in "Psycho." The production design is excellent at supporting the mood.

The suspense builds and is sustained through to the satisfying conclusion as you genuinely get involved in Bale's efforts to solve the increasingly mysterious happenings around him. Even though you are pretty sure he could be hallucinating, you are intrigued to figure out the trigger.

Despite looking like a caricature of a Holocaust victim, Bale creates a full character, from the jocular male camaraderie of the factory where he doesn't quite seem to fit in to responding one beat off to the warmth of the two women in his life, a waitress and a prostitute with the an open heart of gold (played, as usual by Jennifer Jason Leigh, but effectively languid).

THE MACHINST (2004) ***1/2 Christian Bale, Jennifer Jason Leigh, Aitana Sanchez-Gijon, John Sharian, Michael Ironside, Reg E. Cathey.

'Thinner' meets 'Memento' by way of 'Angel Heart' a la Hitchcock

There are a few select actors who have gained or shed weight to make a true transformation on screen but the one that will probably remain imprinted for years to come is the truly shocking display by Christian Bale who lost a whopping 63 lbs. to a skeletal shell of 120 for his portrayal of dank creepy perfection.

Bale stars as the afflicted Trevor Reznik, a shell of a man who works in a machine factory and apparently is nursing some horrible demon that has led to his astonishing appearance, ghostly pallor and paranoia soaked delusions that call to question his amazing confession: How can a man not sleep for an entire year and waste away to a shadow of his being and keep his sanity?

The answer isn't so transparent as Reznik becomes submerged in some sort of dreamscape nightmare of conspiracy theories and the innate distrust of his own mind playing tricks on him one night when he encounters the perpetually grinning Ivan (Sharian sporting the sharkiest Cheshire Cat smile in recent film memory) an apparently new shift employee who distracts him to the point of a horrific accident that causes his employer and co-worker to mistrust him and suspect his deteriorating looks as something a tad more sinister.

Reznik's only solace is in literally a mother-whore relationship he shares with a well-meaning lovely waitress (Sanchez-Gizon) at the airport diner he frequents as much as the hooker he lies with to express his thoughts and odd happenings (Leigh in her umpteenth whore role that must have filled her quota by now).

After the accident Reznik is plagued with a series of Post-Its sporting a game of hangman that leads to a few clues to his rationale and ultimately to his fate of 'Who Am I?'

Directed by Anderson who helmed the criminally underrated spooky horror flick 'Session 9' a few years back returns to a dark story of a man clearly unraveling and destroying himself in the process that echoes Stephen King's 'Thinner' by way of the identity crises of 'Memento' and the psychological thriller 'Angel Heart' yet invokes a sharply executed script by Scott Kosar (who penned the worthy remake of 'The Texas Chainsaw Massacre' last year) that recalls David Fincher meets David Lynch paroxysms of fate and the build up to a discovery that is all too recognizable to the thriller genre in recent years of identity masked as phobic reality with its latter day Hitchcock everyman skewed nicely. Kudos to cinematographers Xavi Gimenez and Charlie Jiminez for its bleak, green/grey drudgery and the Herrmannesque score by Roque Banos mixes perfectly to the dread at hand displays.

Bale went above and beyond the call of duty in his somewhat controversial display of Holocaust invoking demeanor yet it works shockingly well as it delves into the troubled soul of a man who is wasting away not only as a metaphor but as a penance for some hell to pay.