Mindcage review: no-frills thriller boasts a strong John Malkovich, but not much more
Director Mauro Borrelli, whose filmography encompasses work as an illustrator on many big-budget productions in addition to plenty of low-budget horror and other genre offerings behind the camera, evinces no particularly notable or elevating authorial perspective. Instead he merely embraces an apparent “make-the-day” efficiency as his point-of-view.’s look is depressingly generic; its cars are too clean, its rooms too tidy and freshly painted.
The movie’s core idea, which it eventually gets around to in its final 15 or 20 minutes, isn’t at all a bad one. But the uninspired plotting is utterly cut-and-paste from the aforementioned movies, from an appropriation of archangel philosophizing and a ticking clock involving a kidnapped politician to a tête-à-tête in which the Artist, after a florid monologue about the corruptibility of the human mind, grills Kelly about recurring nightmares from her adolescence.
’s posed victims. While the rest of the production design feels largely incongruous with the story being told, the ornately costumed and made-up figures are legitimately mesmerizing, each their own little objet d’art. Of course, if dead bodies are the thing in a movie which elicit the most feeling, that’s probably not a good sign.
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