{"id":58216,"date":"2011-07-08T03:41:25","date_gmt":"2011-07-08T10:41:25","guid":{"rendered":"http:\/\/www.shockya.com\/news\/?p=58216"},"modified":"2011-07-08T03:41:25","modified_gmt":"2011-07-08T10:41:25","slug":"the-chameleon-movie-review","status":"publish","type":"post","link":"https:\/\/www.shockya.com\/news\/2011\/07\/08\/the-chameleon-movie-review\/","title":{"rendered":"The Chameleon Movie Review"},"content":{"rendered":"

Title: The Chameleon<\/strong><\/p>\n

Director: Jean-Paul Salome<\/strong><\/p>\n

Starring: Marc-Andre Grondin, Ellen Barkin, Famke Janssen, Emilie de Ravin, Nick Stahl, Brian Geraghty, Tory Kittles, Nick Chinlund<\/strong><\/p>\n

Amazing things happen every day, all the world over, but the perils of sticking too closely to chronological fact in the cinematic adaptation of\u00a0what by most accounts is an interesting\u00a0true story are amply demonstrated in The Chameleon<\/em>, an\u00a0emotionally opaque\u00a0drama about a wayward European\u00a0youngster who — with the help of a deeply dysfunctional family, each of\u00a0whom\u00a0perhaps has different reasons for wanting to believe —\u00a0passes himself off\u00a0as a missing Louisiana teen before finally being outed by federal investigators. A solidly sketched sense of place can’t elevate this torpid tale, which lurches awkwardly to and fro,\u00a0seemingly most hamstrung by a case of\u00a0protagonist hot potato.<\/p>\n

Nicholas Randall went missing when he was 12 years old. Four years later, his fractured family receives word that he’s been located in France, suffering from localized amnesia but telling a most extraordinary and\u00a0terrible story, of being kidnapped, raped and tortured for years on end. Sister Kathy (Emilie de Ravin) physically identifies him and brings\u00a0this young man\u00a0(Marc-Andre Grondin)\u00a0home to his small Louisiana hometown. Nicholas’ mother, Kimberly Miller (Ellen Barkin, in a gritty performance), however, barely speaks to him, and his older, ex-junkie brother, Brendan (Nick Stahl), can scarcely seem to contain his violent impulses around him.<\/p>\n

While “Nicholas” tries to fit in, FBI agents Jennifer Johnson (Famke Janssen) and Dan Price (Tory Kittles, doing a cut-rate Denzel Washington impression) sense something fishy about this news story, and pump their\u00a0boss (Nick Chinlund) to let them dig further. When they figure out the young man is indeed an imposter, it sets off a chain reaction of assorted bizarre behavior by the aforementioned family members, raising questions about whether this Frenchman’s crimes and head games are the worst of this messy situation.<\/p>\n

Taken from a French journalist’s nonfiction book of the same name, The Chameleon<\/em>‘s screenplay, by Salome and Natalie Carter, is seemingly hewed to conform to as exact of a chronological replication of events as possible. The problem is that this robs the movie of any sense of audience identification, or a greater momentum. We know definitively by the 30-minute mark that Grondin’s character is not Nicholas, yet we crucially do not get into the imposter’s head, rendering later passages — an abortive cat-and-mouse sequence where he\u00a0summons Jennifer to a dive bar, seemingly to establish the publicly verifiable impression of her stalking him — lame and impotent.<\/p>\n

Repeatedly, The Chameleon<\/em>‘s plotting works against its better interests.\u00a0A straight investigatory approach would work fine, yet the full middle third of the movie unfolds after the FBI has established this Nicholas to be a fraud, but also after (in a laughably brief scene) he is taken back in by Kathy, “because he’s still a minor.” (Are minors perpetrating crimes not subject to detention?) Instead of plumbing deeper into the divisions within the family, however,\u00a0Salome and his charges try\u00a0to\u00a0tease along a sense of ambiguity —\u00a0which means none of the townspeople can say anything about or approach Nicholas, while other characters like Kathy’s husband (Brian Geraghty) are required to act with a thunderously stupid incuriosity, saying things like, “Nicholas, or not Nicholas — I don’t know anymore, and I\u00a0don’t care!”<\/p>\n

The Chameleon<\/em> earns minor points for not devolving into empty, skulking\u00a0menace, but then again I gather that was never part of the original story. Unfortunately, the film’s finale — part of which posits that French conman’s profit was “purely emotional” — lacks much in the way of emotional connection, owing to a lead performance that is functional but arm’s-length, but also a script that willfully ignores\u00a0psychological depth\u00a0in favor of small narrative pivots and an ensemble portrait that lacks any cathartic punch or payoff.<\/p>\n

The film’s strength, undeniably, is its rooted sense of place, and authentic location. Shooting in Baton Rouge, Salome, production designer Martina Buckley and the rest of his crew achieve an engaging sense of grimy, swampland\u00a0authenticity on a budget that had to be fairly lean. Unfortunately, it’s in the service of a grifter’s tale that’s\u00a0emotionally crippled, no matter how emotionally motivated its confused central figure supposed to be. Note: In addition to opening in theaters, The Chameleon<\/em> is currently available on VOD.<\/p>\n

Technical: B+<\/strong><\/p>\n

Acting: C+<\/strong><\/p>\n

Story: C-<\/strong><\/p>\n

Overall:\u00a0C<\/strong><\/p>\n

Written by: Brent Simon<\/strong><\/p>\n

\"The<\/a>
The Chameleon<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

Title: The Chameleon Director: Jean-Paul Salome Starring: Marc-Andre Grondin, Ellen Barkin, Famke Janssen, Emilie de Ravin, Nick Stahl, Brian Geraghty, Tory Kittles, Nick Chinlund Amazing things happen every day, all the world over, but the perils of sticking too closely to chronological fact in the cinematic adaptation of\u00a0what by most accounts is an interesting\u00a0true story 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