Stephen Dorff, being characteristically creepy in a suspicious way. A forceful, severe matriarch. Prominent sound effects and a taut, somber original score emphasizing strings. Dark, moody lighting, and crisp cinematography that seems dulled to accentuate shadow. Gabrielle Anwar, directed to at once be beautiful and alluring and also appear helpless and frightened. Whispers, soft voices; dynamic camerawork; cuts to disparate scenes of no readily apparent connection, and without immediate explanation of any, to highlight a sense of detachment, isolation, and foreboding. These are elements that are employed in 'Innocent lies' to inculcate an air of tension and suspense. It's useful for the film to do so because while there's definite mystery about the title - sufficiently strong that even without knowing it beforehand, I recognized a feeling that it was adapted from a book, and one by Agatha Christie at that - its construction doesn't necessarily supply an atmosphere of tension and suspense on its own. In fact, the described added flourishes and the writing and direction at large frankly seem to oppose one another. This movie has problems.
Even the youngest members of the cast generally perform admirably with the material they are given, serving up acting with strong nuance where they can. From a technical standpoint this is well made, and I admire the contributions of the crew behind the scenes. The production design is fetching, and the costume design, and hair and makeup work. These are no substitute, however, for writing and direction that nonetheless makes every scene, line of dialogue, and too much of every performance feel disconnected and less than earnestly meaningful. We rather seem to get a portrait in miniature, one piece at a time, of how director Patrick Dewolf and his collaborators imagines it all should look in a mystery, thriller, drama, and/or film noir - only, the detachment and isolation that is added into the picture kind of extends to each constituent part. 'Innocent lies' is a theoretical patchwork quilt that is very carefully arranged, save for that the stitches between distinct patches are hopelessly loose, and still so thick and heavy that they overshadow what they're supposed to be holding together.
It's so very odd. All the components are here for what should be a rich, engaging, compelling movie, including subtle airs of psychological drama. I can tell how much effort went into it. By some weird set of circumstances I can't fully describe, however, the whole is notably less than the sum of its parts. There's what a movie could or should be, and then there's what it is or the impression it makes - unwieldy, unconvincing, perhaps even contrived. I don't absolutely dislike 'Innocent lies,' and even with nasty themes on the edges including incest and fascism (content warning, folks) it's a narrative that has significant potential. That potential simply isn't borne out.
I expect and hope that there are viewers who watch this and get more out of it than I do. I just think it's too messy and underwhelming to particularly inspire. There are worse films you could watch, but with so many better ones out there, too, there's no overwhelming reason why 'Innocent lies' deserves your time over another.
Even the youngest members of the cast generally perform admirably with the material they are given, serving up acting with strong nuance where they can. From a technical standpoint this is well made, and I admire the contributions of the crew behind the scenes. The production design is fetching, and the costume design, and hair and makeup work. These are no substitute, however, for writing and direction that nonetheless makes every scene, line of dialogue, and too much of every performance feel disconnected and less than earnestly meaningful. We rather seem to get a portrait in miniature, one piece at a time, of how director Patrick Dewolf and his collaborators imagines it all should look in a mystery, thriller, drama, and/or film noir - only, the detachment and isolation that is added into the picture kind of extends to each constituent part. 'Innocent lies' is a theoretical patchwork quilt that is very carefully arranged, save for that the stitches between distinct patches are hopelessly loose, and still so thick and heavy that they overshadow what they're supposed to be holding together.
It's so very odd. All the components are here for what should be a rich, engaging, compelling movie, including subtle airs of psychological drama. I can tell how much effort went into it. By some weird set of circumstances I can't fully describe, however, the whole is notably less than the sum of its parts. There's what a movie could or should be, and then there's what it is or the impression it makes - unwieldy, unconvincing, perhaps even contrived. I don't absolutely dislike 'Innocent lies,' and even with nasty themes on the edges including incest and fascism (content warning, folks) it's a narrative that has significant potential. That potential simply isn't borne out.
I expect and hope that there are viewers who watch this and get more out of it than I do. I just think it's too messy and underwhelming to particularly inspire. There are worse films you could watch, but with so many better ones out there, too, there's no overwhelming reason why 'Innocent lies' deserves your time over another.