Nichols, a hardened New England detective unflinching in his pursuit of a case where nothing is as it seems, one that begins to dismantle the illusions in his own life.
Chuck says:
Grant Singer’s “Reptile” is a very deliberate film. While I wouldn’t call it slow, it certainly takes its time, so much so that once its mystery was revealed, I couldn’t help but feel a bit let down. The pacing is such that I couldn’t help thinking a grand revelation was in the offing; instead, the rather rote conclusion lands with a bit of a thud. That I stuck it out to the end is a testament to the fine performances from the cast and the interesting script that ultimately promises more than it delivers.
A bit of misdirection starts things off as the film opens with a real estate showing at a posh residence. Realtor Will Grady (Justin Timberlake) is eager to make a big sale. He’s even more excited that his romantic partner Summer (Matilda Lutz) has entered this field as well, though it becomes increasingly evident she’s cooled to the relationship. This is not something that develops further as she is soon found brutally slaughtered in one of the properties, they are handling.
Detective Tom Nichols (Benicio Del Toro) is put on the case, he and his partner Dan Cleary (Ato Essandoh) running down leads and examining clues in the hopes they’ll catch a break in the case. One suspect does emerge – Eli Phillps (Michael Pitt), a disturbed young man with a past grievance concerning Grady and his mother Camille (Frances Fisher). He becomes the focus of the investigation, which leads to unexpected results.
A great deal of time is spent establishing the camaraderie that exists between Nichols, Cleary and their cohorts in the upper echelons of the department. Captain Allen (Eric Bogosian), who happens to be the uncle to Nichols’ wife Judy (Alicia Silverstone), hosts regular get-togethers with the couple as well as Wally (Domenick Lombardozzi), a competent cop that’s never really grown up. Chief Graeber (Mike Pniewski) is no stranger to these parties or at a local club where line-dancing is still all the rage.
Initially, this dynamic is welcome, an aspect that often isn’t explored in films of this type. It adds a layer of realism and indicates that perhaps writer Benjamin Brewer, who was aided by Singer and Del Toro, is willing to take a deeper dive into examining what makes these men tick. A subplot focused on an affair Judy may or may not be having also adds to the intrigue.
It’s only at the end that you realize that some of these seemingly well-intended plot lines are nothing but red herrings and that others aren’t quite as clever as they want to be. The mystery surrounding the murder is compelling and as more and more clues are uncovered, there’s no question that the logic surrounding it is clever. However, once the “who” in this whodunit is revealed, it’s a disappointment. What had the appearance of being unique, reveals itself to be mundane. The sense of “been-there, done-that” which sets in after being teased with a stunning twist ending is deflating.
Equally troubling is the lack of clarity as to the connection between the perpetrators, the victim, and the larger plot. It all seems tenuous and arbitrary, something a screenwriter would concoct rather than an organic situation. Then there are the stakes involved, which seem like small potatoes when you consider how many people are involved, and the amount of money being discussed. In the end, it simply doesn’t add up. “Reptile” ultimately proving to be an elaborate shell game in which the viewer falls victim to narrative ruse that fails to pay the dividends it promises.
2 1/2 Stars
