movie review: Eye See You (D-Tox)

There are countless ways a movie can thrill you, but for me, one of the biggest thrills is when you find yourself thoroughly enjoying a direct-to-video flick. When you buy or rent such a movie, something obviously led you to make that selection, but there is also always something in the back of your mind, a little voice constantly reminding you, "don't expect too much, after all, this went direct to video for a reason." But sometimes you can be pleasantly surprised.

Such was the case for Eye See You (a movie, by the way, that has also been released under the title D-Tox, in case the title of this review confused you). The first sign that I was going to be in for a better-than-expected ride: the opening credits. If you are even a casual movie buff, you will find yourself smiling as the credits reveal name after name that is both familiar and welcome. Even if you don't recognize the names, you'll recognize the faces; the supporting cast is filled with some of the most reliable character actors in Hollywood.

Here's the plot (and if the description sounds familiar, it may be because I contributed to the movie's Wikipedia page): FBI agent Jake Malloy (Sylvester Stallone) descends into alcoholism after he is unable to save his wife from a serial killer who specializes in killing police officers. After Agent Malloy slits his wrists in an unsuccessful suicide attempt, his best friend and supervising officer, Agent Hendricks (Charles S. Dutton), enrolls Malloy in a rehabilitation program designed exclusively for law enforcement officers. There, he meets several other current and former police officers suffering from alcoholism, depression, etc. Naturally, most of the officers there are reluctant participants, and a few petty conflicts develop at the drop of a hat. But just as Malloy starts to accept his role as a patient, mysterious things start to happen, and it soon becomes evident that his wife's killer -- whom Malloy thought to be dead -- is alive and well, and stalking the patients and staff of the hospital.

Some aspects of this film deserve special mention, especially the cast. As I mentioned before, the film is well populated with good actors, but what of the lead? What of Stallone? I'd like to submit that Stallone is a better actor than he is often credited for. I think his tendency to star in mindless action flicks hurts his reputation as an actor, and it doesn't help that one of his two signature roles is supposed to be uneducated. But hey, Stallone was nominated for an Oscar for his performance as Rocky, and there's a reason for it. He didn't get that nomination in recognition of playing himself, he got it in recognition of creating an iconic character with the power of his performance. Since then, he has devoted most of his career to explosions and fight scenes, but look at the exceptions -- out-DeNiro-ing DeNiro in Cop Land, showing off his comic timing in Oscar, and such -- and you realize that his career could have taken a very different path.

In Eye See You, Stallone is the lead actor in the extended prologue only; once he arrives at the rehab center, where the vast majority of the film takes place, he becomes less of a lead and more of a part of an ensemble. But pay close attention to his performance, and note the subtle changes in expression.

Kris Kristofferson also deserves mention, albeit for an entirely different reason. Whether he's a bad guy, good guy, or just plain morally ambiguous, Kristofferson always seems to be playing himself, but that's because he does it so damn well. He always has an air of credibility about him. He's introduced as a doctor, and you think, "yes, he feels like a doctor," but when he reveals he's actually an ex-cop, you immediately amend your assessment to "of course he's a cop, what else?" without skipping a beat.

And then there's Sean Patrick Flanery, whose role is small, but whose monologue about a grisly homicide so perfectly communicates grief and horror that the exact same performance in a different movie would have critics murmuring about Oscar buzz.

The only real shame of all these great actors and performances is that they are stuck in stock characters. There's Mr. Chip on his Shoulder, Mr. Vulnerable, Miss Concerned, Mr. Creepy, etc. No, those aren't the characters' actual names, but they might as well have been. Yet the script is constantly finding interesting things for them to do. Take a look at Hendricks, for example, the best friend who drives Malloy to the middle-of-nowhere asylum. In a lesser film, Hendricks would deliver his "pull yourself together" speech, drop the main character off, and disappear from the movie, since the function of his role has been fulfilled.

But the writers, interestingly, decided that wasn't enough. "Alright," they seemed to say. "So he's dropped Malloy off, but where does he go from here? Does he go back to the Big City? But he's a Big City man who is visiting the country for the first time, and even if he is here just to drop off his friend, what if he's intrigued by this new environment? What if all of his earlier jokes about ice fishing get him to thinking that maybe he wants to see what it's like? What if, rather than send him packing as a mere utility character whose use is at an end, we explore him a little bit, by allowing him to explore his surroundings? And what if, rather than using this subplot as a cheap excuse for the tired old "city boy's a fish out of water out here in the country" gags, we actually depict what such an experience might be like?"

On one level, this subplot about Hendrick's impromptu vacation -- and his surprisingly credible sudden friendship with a local old man (charmingly played by Rance Howard) -- has nothing to do with the main storyline involving Malloy, the hospital, the killer, etc. But on another level, it's what makes the movie. It's what reminds us that characters, even action movie characters, are more than mere talking plot points, they can also lead lives that go on after the camera cuts away.

Speaking of cutting away, what does the camera cut away to? Director Jim Gillespie clearly put a lot of thought into answering that question. The rather standard prologue does not prepare us for the visual delights that follow in the majority of the film, but the exteriors are stunning, as Dean Semler's cinematography gracefully captures the stark beauty of the wintery Wisconsin wilderness. And the interiors are equally impressive, as Gary Wissner's production design depicts the rehab center as less of a hospital and more like a prison designed by Frank Lloyd Wright. It may be an implausible setting, but it makes for fascinating visuals, and it's never quite "show-offy" enough to distract from the story (too much).

Speaking of the story, I'd be lying if I told you that it's astoundingly original. It starts out as a standard "burned out cop" flick, and never completely abandons that formula even as it also turns into a very thinly disguised variation of Ten Little Indians. Guess what -- I found myself not caring at all that the story was chock full of cliches. Why? Because I enjoyed playing "spot the guest star" while watching the supporting cast. Because I found comfort in the down-home performance by Kristofferson, and empathy for the grief-stricken character played by Flanery. Because the writers kept me intrigued to see what would happen next for Agent Hendricks, once I realized to my surprise that he was not going to be unceremoniously abandoned as he could have been. Because my eyes wanted to gaze at the beautiful landscapes, and study the fascinating set design. And because I had every reason to expect Eye See You to be nothing more than a standard cop thriller. That's exactly what I got. And yet, in a very good way, it also wasn't what I got at all.