That guy who walks his dog around at 4 a.m.? Yeah, I’m going to stay away from him from now on.
Human-terrorist professor Michael Faraday (Jeff Bridges) saves a little boy from an incident that practically burned off most of his hand. The boy’s parents, Oliver and Cheryl Lang (Tim Robbins and Joan Cusack), are ever more than grateful for this and want nothing more than to repay him any way they can. They are always there for him when he needs help, some food, some company, a friend in need, or any sort of need in the world. However, Faraday is a pretty damaged guy who lost his wife after a botched FBI investigation so maybe he can’t handle all of this love and smothering just yet. Or maybe, he’s just a little too suspicious by the way these two neighbors of him have been acting. They’re friendly, but are they too friendly? And if they are “too friendly”, then why is that and just what do they have up their sleeves?
Believe it or not, as much as this flick continues to get forgotten about in today’s day and age, it was pretty ahead of it’s time being released in the summer of ’99. See, this was a time before 9/11, where films could actually talk openly and discuss the art of terrorism, how to find it right away, and where it can be most discovered, something that no film could do nowadays. Or if they could, they have to water it down to the point of where it offends almost nobody who may be caught watching it. That doesn’t make the film any more memorable or significant to the world of films, but it does bring up some suspicions about how we as a society acted around this time, when the thought of terrorists attacking us and some of our most secured destinations would be simply implausible.
In fact, that’s what some of the reviews for this movie called it: “Implausible”. It seems that people couldn’t quite believe that a family who seems like your ordinary, type-of-folk would actually be suspected of terrorism to such a harsh extent that even the most easy-going neighbor would be going nutso in his nutshell about it. Back in ’99, this probably wasn’t something you heard about all too often or even thought about for that matter, but in the 21st Century, after all that we’ve been through as a country and society; it feels all too much of a common-place. But as I said, that doesn’t make the flick any more memorable or perfect, it just brings up a lot of questions and thoughts about our country back in the days of when this came out.
So with all of that gibber-jabber out of the way, back to the movie.
I have to say, right from the beginning of this flick I wasn’t expecting much other than another, run-of-the-mill thriller that would have me tense and on the edge of my seat, but only for a little bit once I began to know that everything was going to turn out exactly as I suspected. However, that’s not at all what happened. Instead, the movie started off going through the motions like I expected, but then totally changed itself up once a big reveal about half-way through came to prominence, and the premise itself picked right up to the point of where I had no clue where this thing could have gone. It feels like a Hitchcock type of thriller, but it’s a lot more paranoid in the sense that we have know idea what the hell these neighbors are up to, just like Michael doesn’t either. We see everything over his shoulder and through his eyes, and nobody else’s.
That means that every piece of information that he gathers, we gather as well and whatever doesn’t seem right and a little sticky in the mind, we feel as well. These types of thrillers can work because they place you inside the mind of a person who isn’t too sure that he sees everything that’s going on, but just enough to make up his own conclusions. That also brings up the idea is whether or not everything he’s coming up with is actually true. Who knows if these neighbors are terrorists, planning another attack somewhere, or if they were terrorists at all to begin with and Michael just needs a release from his on-going days of paranoia and tension about his wife’s death, and the anger he still feels against those who caused it. You don’t quite know what to believe, just like Michael doesn’t either, which makes it all the more scarier when you take into consideration that anything could happen, at any second.
With that said, it gives us more pleasure to watch a fine actor like Jeff Bridges really work his ass off with this script, especially because the guy has to go through some pretty strange areas with it, but like the class-act that he is, pulls it off perfectly. His character is a bit of a nut-job, who still can’t get over the death of his wife after three years and goes on terrifying rants about terrorists and about being against the federal government, but Bridges gives him more sympathy and more dimensions than just that, which makes it easier for us to actually care for him when it seems like him versus the world. Or, in this case: Versus the “alleged” terrorist neighbors. Hope Davis plays a former-college grad of his that somehow winds up in his bed after his wife’s death which may raise some eyebrows for some, but she plays it off very well and seems like the voice of reason, even when everything else seems to go on a little bit too cuckoo for Coco Puffs.
On the opposite end of the weirdness is Tim Robbins and Joan Cusack as Oliver and Cheryl Lang. Robbins is good as this weirdo that’s able to turn on the charm, but also show something sinister about his act the very next second, but play it off so cool and calm that you don’t know which persona is the real him. Is he naturally crazy? Or, is he just a good guy that’s pushed to the brink of insanity and is continuing to try and snap back to reality? You never know with the guy, and that’s because Robbins is so good with this role, that we never do know or find out. Cusack doesn’t fair so well as his wifey-poo, but that’s mainly because she isn’t given much else to do with this script other than look all nice, sweet, and wholesome, almost to the point of where it’s a little too much for one’s own good.
Still though, I can’t end this review without at least giving some credit to the way that this movie ended, which is uncommon for even the grimmest, Hollywood productions. I won’t give too much away, but just expect to leave with a bit of a sour taste in your mouth, whether you want to or not. It’s going to happen, as it’s still happening to me. Something that will never, ever happen again in today’s world, and wouldn’t even get past the Board of Directors. Now that’s something at least worth remembering.
Consensus: Arlington Road is a weird movie, filled with cook-balls, nuts, and random occurrences, but is also very tense, suspenseful, and mysterious, up to the final shot where most of you may leave satisfied or unhappy by what the hell just happened.
7.5 / 10
Photo’s Credit to: Thecia.Com.Au