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Two investigators of paranormal hoaxes, the veteran Dr. Margaret Matheson and her young assistant, Tom Buckley, study the most varied metaphysical phenomena with the aim of proving their fraudulent origins. Simon Silver, a legendary blind psychic, reappears after an enigmatic absence of 30 years to become the greatest international challenge to both orthodox science and professional sceptics. Tom starts to develop an intense obsession with Silver, whose magnetism becomes stronger with each new manifestation of inexplicable events. As Tom gets closer to Silver, tension mounts, and his worldview is threatened to its core. Red Lights is movie magic at its very best. Classically conceived and executed, it is an example of pure cinema, constructed by combining thrillingly meticulous filmmaking with extraordinary performances. Rodrigo Cortés (Buried screened at the 2010 Sundance Film Festival) shrewdly straddles both sides of the paranormal argument, creating an analytical conundrum with passion in its story line. In doing so, he fashions an exhilarating cinematic experience where illusion confronts science, and the truth lies hidden deeply within.
The film has two distinct conventional halves, the first of which builds tension while the second lays on the scares and surprises. But then there's an addendum, one full of preposterous surprises and unanswered questions. It isn't a third act - it's a cankerous growth that sits very uncomfortably on what otherwise might have been a complete film.
Sigourney Weaver is a world-renowned psychologist who specialises in debunking paranormal claims, alongside her protege Cillian Murphy. Enter Robert De Niro as the almost demonic Simon Silver, a once-famous TV psychic, spoon-bender and all-round spooky guy who just might be the real deal. Silver is a perfect fit for De Niro, who chews through his scenes - including some atrociously corny moments - and he's quite the imposing presence. Of course Weaver and Murphy are fascinated by the challenge he presents, but some exploding AV equipment and rumours of Silver's shady past lead the pair to suspect they might be in danger.
Acting as both writer and director, Cortes displays the same aptitude for subtlety and tension as he did with Buried. Weaver's trademark dry wit is as enjoyable as ever, and it bounces off of Murphy's mopey naivety rather well - but that's about as far as their interplay goes and it feels a trifle underplayed. Added to this, we're offered a great cast who are little more than set dressing - something especially true for Elizabeth Olsen who pops up to fret whenever it's convenient, without the burden of characterisation.
Despite some clunky exposition, the bulk of Red Lights is rather decent, even scary at times. Like a backwards magic show we're treated to all the fun of unravelling the 'trick', with the added eerie promise that maybe the lady really did get sawn in half. This is, of course, until that final section which throws sense out of the window in a fit of orgiastic madness. Characters are written out with little fanfare, and bananas plot twists are written in as though they'd been there all along. Red Lights is spooky, enjoyable and glossy up until a point, but the ridiculous finale very nearly ruins everything that this taut little thriller had going for.
Two investigators of paranormal hoaxes, the veteran Dr. Margaret Matheson and her young assistant, Tom Buckley, study the most varied metaphysical phenomena with the aim of proving their fraudulent origins. Simon Silver, a legendary blind psychic, reappears after an enigmatic absence of 30 years to become the greatest international challenge to both orthodox science and professional sceptics. Tom starts to develop an intense obsession with Silver, whose magnetism becomes stronger with each new manifestation of inexplicable events. As Tom gets closer to Silver, tension mounts, and his worldview is threatened to its core. Red Lights is movie magic at its very best. Classically conceived and executed, it is an example of pure cinema, constructed by combining thrillingly meticulous filmmaking with extraordinary performances. Rodrigo Cortés (Buried screened at the 2010 Sundance Film Festival) shrewdly straddles both sides of the paranormal argument, creating an analytical conundrum with passion in its story line. In doing so, he fashions an exhilarating cinematic experience where illusion confronts science, and the truth lies hidden deeply within.
The film has two distinct conventional halves, the first of which builds tension while the second lays on the scares and surprises. But then there's an addendum, one full of preposterous surprises and unanswered questions. It isn't a third act - it's a cankerous growth that sits very uncomfortably on what otherwise might have been a complete film.
Sigourney Weaver is a world-renowned psychologist who specialises in debunking paranormal claims, alongside her protege Cillian Murphy. Enter Robert De Niro as the almost demonic Simon Silver, a once-famous TV psychic, spoon-bender and all-round spooky guy who just might be the real deal. Silver is a perfect fit for De Niro, who chews through his scenes - including some atrociously corny moments - and he's quite the imposing presence. Of course Weaver and Murphy are fascinated by the challenge he presents, but some exploding AV equipment and rumours of Silver's shady past lead the pair to suspect they might be in danger.
Acting as both writer and director, Cortes displays the same aptitude for subtlety and tension as he did with Buried. Weaver's trademark dry wit is as enjoyable as ever, and it bounces off of Murphy's mopey naivety rather well - but that's about as far as their interplay goes and it feels a trifle underplayed. Added to this, we're offered a great cast who are little more than set dressing - something especially true for Elizabeth Olsen who pops up to fret whenever it's convenient, without the burden of characterisation.
Despite some clunky exposition, the bulk of Red Lights is rather decent, even scary at times. Like a backwards magic show we're treated to all the fun of unravelling the 'trick', with the added eerie promise that maybe the lady really did get sawn in half. This is, of course, until that final section which throws sense out of the window in a fit of orgiastic madness. Characters are written out with little fanfare, and bananas plot twists are written in as though they'd been there all along. Red Lights is spooky, enjoyable and glossy up until a point, but the ridiculous finale very nearly ruins everything that this taut little thriller had going for.
