Rish's Reviews
Every time I review a movie that has no ghosts in it or got a Roman numeral attached to it, there's a question I always have to ask. If you've read enough of my/our reviews, you know what that question is. In fact, from this point on, instead of writing "This was another movie where I had to ask, 'Is it Horror?'" I will refer to it simply as a movie where I had to ask The Question. And One Hour Photo was another movie where I had to ask The Question.
And yes, I think it was Horror. But it's debatable, like a lot of things in life. One Hour Photo tells the story of "Sy, The Photo Guy," a balding, bespectacled film clerk at the local SavMart. Robin Williams disappears into the role as the agonizingly lonely man who has adopted a local family as his own, through their constant visits to the photo lab. Connie Nielsen and Michael Vartan are the . . . dare I say it? . . . picture perfect parents whose real life isn't quite as ideal as their photo album leads Sy to believe. And when his already-empty life takes a turn for the worse, the increasingly-erratic Sy takes a more . . . active role in his new family's life.
I had wanted to see this for a while, and when I found myself walking past the local art house this afternoon, I found I was just in time to catch the same-price-as-any-other-show matinee. After about twenty minutes, though, I started to feel my money was well-spent.
The film is leisurely-paced , and nothing Earth-shattering happens, so it's probably not everybody's cup of tea, but Robin Williams gives an incredible performance, and the film is packed with sad/creepy moments and great narration like "Nobody takes a picture of something they want to forget." The cast was good, with Eriq LaSalle, Gary Cole, the always lovely Nielsen (who does an almost-flawless American accent . . . as usual), and nice acting from the boy. The film was nicely shot, with great colors and framing (like a well-taken photograph). It featured an unusual, haunting score.
True, it doesn't get a lot of Skulls, and except for one unbelievably-disturbing dream sequence, it never strays completely into the lane of my favourite genre. But unless you want to call it a Suspense Drama (no use of the T-word allowed, folks), I feel justified in reviewing it here.
When I go to the movies, something I tend to do (which I think has a tendency to annoy the crap out of everyone I know, tyranist included) is pick a character who's the Me character, the person I most relate to in the film. In the Hannibal Lecter films, he's the Me character, in the Star Wars prequels, it's Anakin Skywalker, in Harry Potter it's Hedwig the Owl (okay, so it's Harry, but you get the picture). And in One Hour Photo, it was most certainly Sy, the Photo Guy. In fact, except for his much-better job, car, and apartment, I AM Sy, the Photo Guy. Think about that the next time you order reprints.

The tyranist's thoughts
I usually have less of an internal debate about whether things are horror or not. I figure that if the primary theme of the movie is meant to be scary or disturbing, then it is probably horror. There are only two times that I have a real problem deciding. The first is something that is sold (by the trailer, other reviewers, whatever) as horror but turns out not to be at all. The second are movies that distract me from the horror by being either incredibly sad or just so well shot that I find myself just staring at the picture more than involving myself in the story. This movie was the latter for me.
Oh, it's horror alright. The movie is creepy and disturbing as hell. Robin Williams is menacing and psychopathic and the people he is a threat to are likeable people. His dreams and fantasies are madness and his life is hellish enough to drive anyone over the edge. There were times when I vowed never to use film photography again.
On the other hand, the movie is sad and beautiful. Sy, the photo guy, is a hugely tragic figure that I couldn't help but feel for. He's so desperately lonely that I felt like slapping the people who ignored him. To put that into perspective you should know that I, as a rule, hate people and generally care nothing for the well-being of people who are not directly connected with my own life. Selfish and misanthropic, yes, but it isn't me that we're here to judge.
As for the beauty, every shot looked carefully managed, from the colors to the framing, everything was accounted for and consistent. The plot was slow enough that sometimes it felt like looking through a photo-album while someone stood over your shoulder and explained the story within each picture. I've complained in the past about directors who use film as an art for art's sake medium, but this particular sample is breathtaking in its accomplishment. Even one inconsistency in the movie would have made the whole illusion fail, but it remains true to the end. Simply, a beautiful movie as well as a stirring story.
Well, this certainly isn't one for everyone and I can just hear the beer-swilling, death-cheering, gore-mongering crowds screaming for mercy. If, on the other hand, you are patient and don't mind taking a long look at someone else's photo-album, check this one out. You won't be sorry.