OLDBOY (2013)

For months I've been trying to think of a production as ill conceived as a remake of Park Chan Wook's 2003 film Oldboy. I have no idea who'd want to see this. Most remakes are done, I suspect, because the original is famous enough that the marketing can coast on the general public's nostalgia for the title. But Oldboy is fairly obscure, has little brand name recognition to cash in on, and is too unpalatable for general audiences. Furthermore, the people who do know it are mostly film lovers who generally hold it as a classic and wouldn't want to see it remade, even by Spike Lee, a great (if uneven) filmmaker in his own right. The only hope is for Lee, who delights in provoking, to come up with something so different that it stands apart as a new vision.

Unfortunately, Lee mostly just walks the line between doing his own thing, and staying within the confines of the established story. The results are well made and somewhat distinct from the original without being truly distinctive. The film starts in 1993 when we meet Joe Doucett (Josh Brolin), a rakish ad exec who neglects his family and is on the verge of losing his job. One particularly drunken night he's snatched off the street and wakes up in the locked hotel room where he'll spend the next 20 years.

The scene where Doucett discovers his predicament is very well done and the sequence makes the best case for Lee's version as an alternate take. Many of the beats from the original are there, but instead of trying to outdo the sheer propulsiveness of it, Lee instead slows down for something more intimate. Doucett doesn't know who imprisoned him, but he learns through his TV that he's been framed for the death of his wife. As the decades pass he'll quit drinking, attempt suicide, get in shape, plot escape, eat a lot of bad dumplings and in one touching vignette (Lee's best addition) befriend a family of mice living in the walls before they meet a particularly nasty fate.

After he is mysteriously released, the film starts to lose me. He makes contact with his old bartender (Michael Imperioli) and Marie (Elizabeth Olsen), a pretty doctor who helps him track down his tormentors. He kinda wants revenge, but mostly he just wants to clear his name and be there for his daughter, meaning the film must now link the two goals if the plot is to move forward, leading to the intervention of his former captor who puts a timeclock on the investigation. The captor is played by Shartlo Copley as a series of cartoon affectations, his long fingernails and Draco Malfoy accent eliciting Python levels of laughter in my screening. He's not just in a different movie, he's in a different galaxy.

Copley's performance is emblematic of a major issue with the film, it has no idea what it wants to do tonally. Lee isn't interested in replicating the original's theatricality, but when the material is gothic, operatic Greek Tragedy, it doesn't respond well to the comparative realism Lee imposes on it and the film often seems to be fighting him. No mater how much Lee tones down his own distinct style to compensate, this needs to be a quirkier film. Copely and a warden played by Samuel L. Jackson are some of the remnants of the Park weirdness (albeit without the dark humor), but outside of Jackson, they don't work, partly because of cognitive dissonance, and partly because Copley is terribly miscast.

Further wonkiness results from just how much of the original structure remains. Lee may deviate and elaborate, but he doesn't improve or fundamentally change, meaning fans will find Lee's alterations  mostly distracting. Neophites will get the most out of this, but they won't confuse the film with being a masterpiece. The ending still packs a wallop, but I believe newbies will sense how Lee and screenwriter Mark Protosevich overcomplicate it and dilute its horrific consequences. While the film has more than its share of nastiness, frequently trying to outdo its source, it's much less daring too. The downfall of Oldboy 2.0 (3.0 if you count the original manga) is that it does nothing to break free of the original's shadow, there are pieces of a truly original take on the material, but they're stuck in a film that just doesn't have the guts to go all the way with them.

Grade: C