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The Bone Collector
1999 - R - 118 Mins.
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| Director: Phillip Noyce | | Producer: Martin Bregman, Michael Scott Bregman, Louis A. Stroller, Louis A. Stoller, Martin Bregmen | | Written By: Jeremy Iacone, Jeffery Deaver | | Starring: Denzel Washington, Angelina Jolie, Queen Latifah, Michael Rooker, Mike McGlone, Ed O'Neill, Luis Guzman |
| Review by: John Ulmer |
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The serial-killer genre received a big boost over a decade ago when “The Silence of the Lambs” was released; Hannibal Lector himself spawned a newfound interest in not the slasher genre of the eighties, but of the psychological slashers.
Unfortunately, like all movies and their genres, they simply get…old. I’m tired of serial killer movies that try to cash in on the success of “The Silence of the Lambs.” We’ve had countless films over the years since “Silence” that are just tragic rehashes of each other with predictable and ridiculous endings.
Now we have “The Bone Collector,” another typical “psychological thriller” brought to life by a great cast and director.
Angelina Jolie plays the cop-on-the-streets who discovers a corpse next to a railroad. She immediately sparks interest in herself as the chief of police starts watching over her more, and a paraplegic man named Lincoln (Denzel Washington) summons her to his home to ask her a simple question.
Washington wants Jolie to help him catch the killer.
Denzel Washington plays Lincoln, a man who used to be big but is now immobile. His only moveable joint below his neck is a single finger, which he uses to click a computer mouse by his bed. He is watched over by Queen Latifah, a caring woman, sure, but not exactly loving.
“The Bone Collector,” based on the novel of the same name by Jefferey Deaver, could easily have slipped into the average slot, but because of a great cast, is just good enough to recommend. There are some gut-wrenching scenes in “The Bone Collector,” but then there are some scenes (including the end) that drag it back down to the same territory inhabited by numerous other stereotypical psychological thrillers.
Director Phillip Noyce uses some great shadowing and dark, moody atmosphere to bring the surroundings of his film to life. Exterior shots are dark and withdrawn, and interior shots are almost too bright. It is as if the darkness symbolizes the chemistry in the characters. The more Denzel talks to Jolie the brighter the room gets; when they are outside it is darker. Why? Because she doesn’t know anyone outside. It is as if the surroundings are tailored around her character’s emotions. She’s happy, it’s bright. She sad, it’s dark. Etc…
All in all, I was going to give “The Bone Collector” a higher recommendation than three stars before I saw the ending, but it turned out to be quite ridiculous and average; plus, it was very predictable. I guessed it before it happened.
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