We as horror fans are lucky to have Mike Flanagan. The man is making concepts that have no right work, do so in spectacular fashion. From murderous mirrors, or a killer stalking a deaf victim all the way to making the original Ouija suck a little less–now if only someone would help Before I Wake finally see the light of day.
Now, we’ve got Gerald’s Game. A movie that, in large part, takes place in a single location. Jessie (Carla Gugino) and her hubby Gerald (Bruce Greenwood) decide to take a trip to their lake house and in an effort to spice if their marriage Gerald handcuffs Jessie to the bed. However, when Gerald’s role playing fantasy goes awry he suffers a heart attack and dies before he can uncuff Jessie. Left in an impossible situation she is forced to confront her traumatic past while searching for any clue that help her escape the cuffs.
How fitting for the latest Netflix Original to come out in 2017 just a month after we experienced a total solar eclipse. A similar event plays a pivotal role in Jessie’s psychological journey. The tole of emotional wounds coming to a head as she sits on the bed waiting for her death or for help to arrive. As her mind begins to crack she envisions versions of herself and her husband moving freely throughout as part of her internal thought process–both taunting her and trying help her thing logically in her predicament.
Gerald’s Game unfolds as a dramatic psychological thriller. Part drama about a married couple’s struggles at keeping the romance alive due to hidden desires and other deeper emotional scars and part survival thriller. Gugino crushes both aspects of her character–a woman who’s dodged childhood trauma her hold life and one driven to survive when forced to examine her actions that lead her to being handcuffed to that bed. Greenwood too, compliments Gugino as a force of masculinity with complicated ties to Jessie’s deep seeded troubles. In the end the film also delivers just enough cringeworthy violence and bone chilling sound effects to gratify genre fans looking for the cherry-on-top.
Like any minimalist thriller the struggle is keeping the audience riveted–Flanagan and co-writer Jeff Howard spin some incredible sequences of psychological barbs between characters. Combined with Flanagan’s visual prowess to stage a scene for maximum creep factor to provide some stiff competition to Pennywise and The Losers Club for best King adaptation of 2017.
Widely considered one of many unfilmable King novels, Flanagan makes it look like a walk in the park. Gerald’s Game is taught, suspenseful and magnificently performed–but a shame that the vast majority of the populism will only be able to experience it on the small screen.
Beer Recommendation: None at this time. Sorry, you kinky pervs.