The Gift is a diabolical thriller, less interested in blood and gore, and more interested in mental mind games. Skillfully written and tightly directed by co-star Joel Edgerton (he loves slipping into any role thrown at him, similar to Tom Hardy, but with half the hype), the less you know about this nifty and nasty sort-of-stalker-film the better. Much has been made in the media about the twist ending, and yes, the final act has a couple zigs and zags, with the final one worthy of Hitchcock/Fincher; I did my best to avoid having them spoiled and I’m extremely pleased that I did. If you’ve done the same, then this movie should work you over like a cheap date. Jason Bateman and Rebecca Hall are both very good in somewhat tricky roles, because, as with Edgerton’s sly performance, it’s all about what’s not being said as much as it’s about explicit action. Stylishly if unselfconsciously lensed by the underrated cinematographer Eduard Grau (A Single Man, Buried), The Gift has a sleek and sexy veneer that slowly slips away to quiet, casual menace. And without ever going over the top and sticking to the brass tacks involved on a story level, Edgerton never paints himself into a corner he can’t get out of; he sticks the landing, which for this type of film, is very important. This is a very solid genre entry, and a movie that will certainly have a long shelf life, especially with unsuspecting viewers. And it must be said – TOTALLY screwed up series of final events in this movie! *NO SPOILERS!!*
Podcasting Them Softly 