User reviews

For as far as I know this was the very first movie that I've seen from Atom Egoyan. I had heard his name before and I knew that the movies he makes are often very good, but you just can't see them all, can you? Still, I'm glad that I finally got to see one and I must say that I'm already a fan of his work. If his other movies are as good as this one, than I almost can't wait to see those too.

The title "Felicia's Journey" already tells something about what to expect from this movie. It tells the story of an Irish girl that is making her way from Ireland to England, to find her boyfriend who moved there to get a job in a lawn-mower factory. On arrival she meets a lonely middle-aged catering manager, called Hilditch, who recommends a boarding room to her. But Hilditch is a bit of a strange man. Even though he seems very nice and polite, he's always alone and seems to spend hours on studying tapes of an eccentric TV chef called Gala. Gradually we learn that the man has a much darker side than what we and Felicia at first assume...

Even though he could easily have made a horror movie out of this subject or perhaps even worse, a TV-movie (it has something to do with having a bad youth, murder,...), Atom Egoyan has made the excellent choice of focusing on the drama and studying the characters with flashbacks. And by only slowly allowing the viewer to get some new information, rather than to give away everything at once, he builds up tension very well. But a good story isn't enough to make a good movie of course, some fine performances by all the actors are needed as well. Despite the fact that I didn't really know Elaine Cassidy (I only saw her play in "The Others" before), I must say that she is a pleasant surprise. She really did a very nice and convincing job with this role. The same can be said about Bob Hoskins. Him I know a lot better, but he too surprised me. He was so good in his role as Hilditch, that it took me quite some time to believe that it was really this man who did those horrible things.

Overall this is a very fine movie with some excellent performances and a very interesting story. I'm convinced that there will be several people who will not like it for several reasons, but personally I liked it a lot. For me it wasn't too slow and I stayed focused from beginning until the end. And as this movie shows, you always have to be patient. Its power doesn't lie in the beginning or in the middle. Only when it is finished, you'll fully understand what has happened. That's why I give this movie a rating in between 7.5/10 and 8/10.

I just got back from seeing this film, and it hasn't quite gelled in my head. It's the story of a very creepy man (Bob Hoskins) who "helps" an out-of-town girl find her boyfriend. The movie had me squirming in my chair for a good hour of it with the man's methodically manipulating the girl into staying with him. But like the other two films of Atom Egoyan's I've seen ("Exotica" and "The Sweet Hereafter"), I have a really hard time categorizing it.

Hoskins' character is a strange and disturbed man you can't really understand; he can't really understand himself, I'd say. The young girl does a great job, and I could virtually see the innocence being torn away from her through the film.

If you're a fan of Egoyan's, you'll want to see this movie. If you like disturbing psychological thrillers (heavy on the psychological), you might like it, too. It has a tension I'd liken to "Eyes Wide Shut," which I also liked.

Angel-faced Elaine Cassidy is suitably innocent as an unwed Irish teen naively searching England for the boyfriend who deserts her, and Bob Hoskins is effectively controlled and creepy as the serial-killing caterer who comes to her "assistance"; but this is a mostly uncomfortable smashing together of coming-of-age drama and "Silence of the Lambs". At times the film has a mesmerizing pull, but director Egoyan too often stalls things with needless flashbacks that provide information the audience has already come to understand, or tries to invest trite scenes with a revelatory significance that just isn't there. It climaxes awkwardly and absurdly with a delirious depiction of two religious crusaders being more monstrous than Hoskins' character himself.

Egoyan labors to establish some pre-conscious link between the girl and the killer, contrasting Hilditch's (Hoskins) warped, twisted innocence with Felicia's pure, unspoiled variety. He just can't quite pull it off though, as there is no escaping the conviction that what Hilditch has been doing (luring unhappy girls into his car, befriending them on videotape, then killing them) is repugnant beyond comprehension. In fact, that is probably the most tired, hoary theme in movies today: that the seemingly cold-blooded killer or assassin or whatever is "just doing his job" or is "really no different than you or me". Oh really? How fascinating.

Despite Egoyan's sumptuous visuals, I found myself focusing on the many plot holes due to his studied (some have found it hypnotic) pacing. How in the world did Hilditch attach a name to a face when it comes to tracking down Felicia's boyfriend? Why doesn't the boyfriend recognize Felicia at the pub? How can Hilditch be sure that Felicia wouldn't suspect him as the person who stole her money? True, she's gullible and trusting but he WAS alone with her bag in the car. There's no way he could've known she'd leave her bag out of sight anywhere else; in fact it's highly unlikely that she would. And why in the world don't the abducted girls he's giving rides to just escape by jumping out of his car? You can clearly see on the videotapes that he's driving slowly in populated areas, and you never see him using a gun. These are the sorts of things that really stand out when the central story isn't quite working.

"Felicia's Journey" certainly isn't a total failure and I admire some of the chances it takes, but ultimately it fails to work because the two approaches are at odds with each other. That is, the microscopically observed psychological "stuff" dehydrates the thriller elements (and at times, the movie is clearly trying to pump up the suspense and WANTS to be a nail-biter) and the thriller elements trivialize the dramatic breakthroughs.

Starting with Exotica, Egoyan is slowly becoming more mainstream and simplistic. Films like Exotica and The Sweet Hereafter are brilliant because of their intelligent and understated portrayals of disturbed, emotionally destroyed individuals. He denies the characters on screen shows of emotion, forcing the audience to feel the emotion for them. And we feel that emotion because we know and understand the emotional drive behind each character, (dead children in both films) therefore it doesn't need to be seen. In Felicia's Journey, there is very little emotional drive behind the events in the picture. The build-up is brilliant, Atom at the top of his form. Fuzzy video images, horrifying flashbacks for Hoskins, eerie music from Mychael Danna, Arsinee as the mother from hell. But with the lack of any real emotional tension comparative to his earlier works, the ending simply fizzles. It is dull and boring, narratively as well as stylistically. If you were to only watch the last half of the film you would not be able to tell it was an Egoyan picture. That's because it isn't. He's forgotten what makes his pictures great. It's not about the creepy video images and eerie music, it's about the intricacies of human nature that his films are able to reveal to us.

Felicia's Journey was the closing film of this year's Galway Film Fleadh (Gaelic: Festival).Based on a story by Ireland's premiere short story writer William Trevor, Felicia's Journey is one of the most terrifying thrillers made this decade. So disturbed were some of the viewers that they refused to applaud the movie - "That was to freaky", said a local movie buff, "I didn't need to see that". The movie begins by fooling the audience. It starts as a bittersweet tale of a young Irish girl (Elaine Cassidy) who sleeps with a British Army soldier and is shunned by her family. She is exiled to Birmingham, England, where she meets Joe, a kindly old man (Bob Hoskins). So far, a pretty typical poignant Irish drama. Suddenly, some rapid editing and jolting images reveal that Joe ain't so sweet. In fact he's one of the most vicious, despicable psychopaths you'll ever seen on screen. The mood is extremely fearful for the remainder as Elaine Cassidy's perfect rendition of an innocent Irish Catholic girl screams out for help. Hoskins has played the best role of his life of a tortured, gentle, caring, sick, evil but very human man. His performance is only comparable to Peter Lorre in Fritz Lang's M. Excellent editing and and a complex, skillful score contribute to making this one of the movies of the year and a classic of the thriller genre. Don't see it unless you have the nerve.

Egoyan's presentation really sets the mood for the film. The music is particularly effective, and the look has a certain ominous feel even in the scenes where characters would normally be at peace with nature.

This movie was so riveting and engrossing because it kept building up by revealing more about the mysterious main characters. It goes about doing this in a manner that makes the film more interesting by opening up possibilities instead of closing them. As we get more of an idea of who these people are, the tension mounts because we can see the movie is leading to a major disaster, but we aren't sure what and when.

The flashbacks and transitions between the two main characters are so effective. The flashbacks slowly reveal what caused the characters current traumatized state (their main similarity is it's one parent, but they don't know of this similarity), while the transitions emphasize comparisons between the two.

Hoskins performance is really the key because he has most of the lines. He does an exceptional job, changing a little bit with each revelation about his character. By the end of the story, he's nothing like the guy that you thought he was at the very beginning, but the changes are totally credible. Although I mentioned he has most of the lines, the most impressive thing about his performance is the believability of the emotions he's portraying throughout this dialogue because his character is one that generally doesn't say what he's really thinking and feeling. On some occasions, his intense feeling is really obvious. In a lot of others though, it's buried beneath the skin as the point is the topic of conversation or the other persons actions have caused something to stew inside of him but his character is trying his best not to boil over.

Cassidy is highly impressive because she's able to convey the all the emotions without many lines, especially since all her lines are purposely delivered with the same unassuming nature and low key tone. As is one of the trademarks of characters in Egoyan's movies, she also has a dualism in her actions and words where we kind of believe more toward the opposite is actually true. We aren't really sure, but we can see that something is beneath the surface. It's hidden just enough so that the person she's with doesn't see it. Depth, subtlety, and what lies beneath are definitely the strengths of this movie and Egoyan's cinema in general.

The movie really stands out because you could see how easily it would have been another boring and predictable thriller had it been made in Hollywood. Hoskins would have been much more narrowly defined so he could be a clear-cut villain. The narrative would have been dumbed down and told in a more conventional style. The director would feel he had to insert some happy or comical moments that would only water down the intensity and weaken the portrayals of these characters. The temptation to totally leave the psychological level and have Hoskins chase Cassidy around his house with a sharp object at the end would have been too great. Luckily, it wasn't made in the land of the rehash, so it was a somewhat challenging movie that stayed true to its roots from start to finish.

Aside from leaving Canada, I don't see why people think this is so different from Egoyan's other famous films, Exotica & The Sweet Hereafter. The core ideas, style, and presentation are all here. Like those other two, this is an excellent film that's one of the years 10 best. 9/10

A naive young Irish girl travels to England to find her boyfriend, who has gone there to find work. Unable to find him she meets a kind catering manager Joe Hilditch,(Bob Hoskins) who helps her find lodgings. They keep meeting up and he continues to help her in her search, Felicia tells him her story and that she is pregnant, he offers advice and offers to assist in getting an abortion, Felicia downbeat at not being able to find her beau, agrees. Recuperating in Hilditch'a house she doesn't realize the danger she is in. A very unusual film indeed, to the untrained eye it might seem like a period piece, as the music, clothes, cars etc would point in that direction, but it is a contemporary setting with wholesale old fashioned values. Hoskins is superb as the killer who films his victims before they die, the scenes where he relaxes by cooking to old tapes of his celebrity cook mother, gradually reveal where it all went wrong for him. Against this there are also flashbacks to Felicia's home town, where we learn of her development and her blossoming relationship is revealed along with her father's dislike of said friendship. An odd but totally intriguing film.

In an interview he did with Maclean's last year(the Sept. 12 issue, I think, though I'm not exactly sure), writer-director Atom Egoyan talked about an incident in his life which partly explains why his last three films - EXOTICA, THE SWEET HEREAFTER, and now FELICIA'S JOURNEY - have been about very twisted, almost predatory, relationships. It seems when he was a teen, he fell in love with a girl who, as it turns out, was being molested by her father, and naturally, that caused all sorts of difficulties. Unconsciously maybe, in order to understand how anybody could do such a thing, maybe Egoyan has tried since to use film to do that(although I won't state that as a fact; I'm no psychologist).

What is clear in FELICIA'S JOURNEY is that, for the first part of the movie anyway, Egoyan is clearly more interested in telling the story of Hilditch, the caterer who is more disturbed than meets the eye, than in Felicia, the young woman he befriends. If this were just a movie about Hilditch, maybe that would suffice. But in the novel by William Trevor this is based on, even though Felicia's story is a familiar one(young, somewhat naive girl falls in love with boy her family doesn't approve of, he leaves, she gets pregnant, and tries to find him), her story is of equal importance to the story of Hilditch, and Trevor is interested equally in both of them. The problem is Egoyan seems disconnected to Felicia's story, even though Elaine Cassidy is quite good in the role, so not only does the story go slack there, we start to question, as you didn't in reading the novel, how she could be so naive.

Eventually, though, when Felicia ends up staying with Hilditch and gradually learns about him, the terror of the story, and the fact that, thanks to Egoyan, we're seeing her primarily through Hilditch, makes us care. And, as I said, Cassidy is quite good.

Of course, the movie belongs to Bob Hoskins as Hilditch. Hoskins doesn't make the mistake of coming across as a sneering psychopath. Instead, he trusts us to make our associations from past roles of his(THE LONG GOOD FRIDAY, MONA LISA) to realize there's something bubbling under this mama's boy, and concentrates on playing Hilditch on someone who genuinely believes he's doing good deeds here, and just want to help. It also helps that Arsinee Khanjian, as Egoyan's wife, is quite good, and funny, as the domineering mother; you may never watch cooking shows the same way again.

Egoyan also doesn't make a conventional Hollywood thriller as the movie draws to its conclusion. What he substitutes is something which, admittedly, played out better in the novel because Trevor was able to stretch it out more, but it still chills you to the bone. One may wonder why Egoyan took to a genre piece right after THE SWEET HEREAFTER, but he reworks it into a movie which does resonate.

Though very well conducted, this is a very sad movie. With weird characters and surreal situations, it keeps you interested on their lives and where (and how) this all going to develop along the flick. Elaine Cassidy as Felicia is superbly cute. You would remember her from Alejandro Amenabar's "The others"; side with Nicole Kidman - Elaine played the "mute girl" Lydia. Bob Hoskins is good as ever. Quite convincing and intense. Their backgrounds are suggested to the viewer more than shown on screen. But even with all this good elements together, it's something I would NOT recommend watching if you're on a bad mood day.

Beware anyone who does not like slow paced films, 'cause if you don't, this film will make you fall asleep. Having said that, I must say that I certainly don't mind slow paced films as long as it suits the tone of the film. That is the case in "Felicia's Journey". FJ is not Atom Egoyan's best film (personally, I think "The Sweet Hereafter" is a masterpiece), but it's much better than e.g. "Exotica". Bob Hoskins is absolutely brilliant in this film as is Elaine Cassidy. However, calling this film a thriller is a stretch. "Felicia's Journey" is very much a drama, a serial killer drama, not a serial killer thriller. That's what is so great with this film, since it lets us meet the murderer on a whole other level than in most thrillers. Great film, brilliant acting.

Friendship blossoms between a pregnant teenager and a lonely caterer with a history of abducting women in this stalker/psychopath movie with a difference. Unlike most sociopath thrillers, 'Felicia's Journey' chugs along based on what is implied with a constant sense in the air that Bob Hoskins is about to do something sinister. This resonates all the more strongly since the vast majority of the film is spent on jovial interactions between the pair as he constantly offers to help her out while never once imposing on her. Hoskins also remains likable throughout, with the film focused on his insecurities and loneliness rather than his heinous past actions, which we only ever see brief glimpses of. There is much to admire in how refreshingly unpredictable the film becomes with this unusual narrative approach; a particularly intense sequence of events has Hoskins successfully track down the boyfriend that the teenager is searching for, only for an engineered meeting between the two leading to unexpected results. This tension is not, however, always felt and arguably too much time passes between the pair becoming meeting and her become dependent on him, but the novel approach here still renders the film worth a look. Hoskins and lead actress Elaine Cassidy are both well cast, Mychael Danna's music is very effective and the film is utterly unsettling at its best.

Joe Hilditch (Bob Hoskins) is an eccentric manager of a catering company. Felicia (Elaine Cassidy) is a desperate young lady from Ireland looking for her boy friend who left her to go to London.

This is very much a creepy movie that starts out as a gentle film. The style, the story, and the actors don't really hint at the subject matter early on. Director Atom Egoyan is doing something perverse here. It's almost as if he's lulling the audience into a different movie. Then he turns the movie slowly into something disturbing. It's a very slow start for people who want action. This ain't the movie for that. Bob Hoskins is brilliant as he creeps into Felicia's journey. He's the perfect blend of likability on the outside, and the ugliness on the inside.

A young, pregnant Irish lass (Cassidy) journeys to England to search out her baby's dad, who has left them behind supposedly to work in an English factory. In fact he has joined the army, which she doesn't know. She comes across an apparently sweet old man (Hoskins) who run a catering company in Birmingham. He takes her under his wing, but we soon see his plans for her are not exactly pleasant. Hoskins is terrific as a mild-mannered psychopath, although his unusual accent is off-putting to American ears and not always understandable. Cassidy is very convincing as the naive young mom-to-be. Very dreary setting, understandably so since it take place in dreary Birmingham; also, the time frame is a bit confusing. One would guess it must be set in the 1950s or '60s, based on the attitudes expressed toward abortion. But it is apparently set in the early 1990s. So be it. Not your conventional thriller, this is certainly not aimed at the mass audience and will find limited appeal via TV showings. Tricky flashbacks help tell the whole story and there is an equally tricky and unexpected ending.

Atom Egoyan has again created another striking work of art with his adaptation of the William Trevor novel, "Felicia's Journey". The director of such great films as: "Exotica", "The Sweet Hereafter" and "Speaking Parts" has ventured from his Canadian world to that of the British Isles. He does so effortlessly and again confronts an amazing story told in only the way he can.

The film has the air of confidence from a film maker who has now truly found his rhythm and the ability to bring it to a mass audience. He again starts with a dark theme and manages to keep his world secretive until the final frames keeping the audience riveted. His amazing talent continues with the ability to elicit amazing performances from both established actors like Bob Hoskins and new faces like Elaine Cassidy as well as his ever lovely and talented wife, Arsinee Khanjian.

Hoskins has one of this year's best performances. The chilling Mr. Hildich would have been muddled by a lesser actor, turned into a poor man's Hannibal Lecter. But Hoskins makes the character grow with the film, he only gets more menacing as the film progresses...but never too menacing that you can't feel for him. Cassidy is equally skilled in bringing young Felicia to life. A young woman who is lonely and confused, but determined to see her dreams fulfilled. Also a special mention should be given to Claire Benedict who plays Miss Calligary...a missionary who never quite knows when to quit...even for her own good.

The story does unfold in a series of flashbacks, so those with short attention spans may need to avoid this film. But in doing so, they would rob themselves of an amazing story.

A key element to the film is Mychael Danna's musical score for the film. Music is used much more as a key player in the film than Egoyan has used in the past. It works greatly to his advantage.

This film was the opening night to the 24th Toronto International Film Festival...it was an incredible way to begin the fest. It certainly will be remembered by me for many years to come. Thank you Mr. Egoyan.

Enjoyable film, but slightly floored by the appearance of unconvincing God squad campaigners. Slightly disappointed by the ending. Difficult to write much more without spoiling the film too much. Main character acting is first rate. One review of film stated it was boring, which I thought was grossly unfair.

Egoyan has disappointed me many previous times, although his "Next of Kin" remains one of my all-time favorite films. Not in a thousand years would I have expected a film like this from Egoyan. We've left Canada, for god's sake; a lovely country, some very talented and multi-talented people there, especially most -- it often seems to me -- of Hollywood's greatest actors and actresses. But to travel across the Atlantic -- Egoyan hasn't done that before. And this plot is character-driven (like "Next of Kin") -- and not always shouting at you "Hey, I'm a strange and brilliant director presenting all this odd stuff for you." Egoyan's penchant for films within films and pictures within pictures and other eccentricities don't distract,this time -- they remain, but much diminished, muted. And it works. Tremendously well, in fact. Families -- that's what Egoyan does best, what he knows most deeply -- how wonderful it is when they work, how deeply we need their sustenance. But how terrible, cruel, sometimes funny, but more often monstrous the effects parents have on their children in so many cases. Hoskins has been so great, so often before, can it really be surprising he's especially excellent here? A fine film; the old Peter Lorre film "M" comes to mind, his role somewhat comparable to Hoskins' here -- but many differences exist between these works. "Felicia's Journey" is amazingly beautiful to watch, idyllic at times; we see Felicia's inner and outer beauty first through our own eyes, then increasingly through Hoskins' character's odd lens. There's beautiful countryside to view. We have both hope and menace -- something slightly askew -- a spicy mix. The mundane, the commonplace are pleasantly present, but murder and madness hover very near. Entirely, hypnotically compelling; that's the best summation. And wonderful.

It's a very big disappointment that after THE SWEET HEREAFTER Egoyan chose to do yet another serial killer film. There's nothing here you haven't seen done better in PSYCHO. Hoskins is good, but he's no Tony Perkins

I really wanted to like this movie. I am a Bob Hoskin fan and I enjoyed his performance. The movie was quietly ominous like the Hoskin character but it never lived up to its potential. The Hoskin character was built up to be a troubled , deadly, controlled fiend but the movie went nowhere with that build up. Why have the character made out to be horrible and not use the horror in the movie. I think showing him to be troubled was enough considering where the movie went. The movie was touching, not at all like it was advertised. It would have been a better movie if it went for compassion. Actually it did go for compassion at the end after a big build up of horror. You were awaiting slashing and you got sap. The false suspense ruined the movie. Elaine Cassidy's performance was very good. She seemed vulnerable and frail just the type the Hoskin character wanted. The Hoskin character was portrayed as an anachronism. Living in the 50's with his music and house decorations. So what was the deal with the tapes and hidden camera Where was the camera hidden in that little car so that none of the victims saw it? For me the camera and taping of the other girls did not fit the Hoskin character. The technology was too modern for this old fashioned guy. Cinematic device was written all over the tapes of the girls. Nor was the character's interaction with employees real. The character seemed to have genuine caring relationships with the people he worked with but was portrayed elsewhere as being enclosed and lonely. Too many contradictions for me. The Hilditch character was not true to me and so the movie failed in engaging me. I cared for the girl and her plight but the horrible Hilditch seem more plot device than person.

Well, that does it, I'm officially giving up on Atom Egoyan films. I've now seen Exotica, Speaking Parts, The Sweet Hereafter and Felicia's Journey and hated (and/or been bored by) them all. If you like artsy movies that jump around a lot and aren't shot well, maybe Atom is for you. If you want an engrossing story with well developed characters, in a movie that's going to make you happy you invested 90+ min of your life to, run ... run far, far away from Atom films.

Anyway, if you're a fan of Bob Hoskins ... maybe ... if you're a fan of Elaine Cassidy ... stronger maybe ... if you answered no to both of those, and you're debating whether to get a jump on your '05 taxes or watch Felicia's Journey, go with the taxes -- it will be time better spent.