Stir of Echoes Review
by Jamey Hughton (bhughton AT sk DOT sympatico DOT ca)September 17th, 1999
STIR OF ECHOES
**** (out of five stars)
A review by Jamey Hughton
Starring-Kevin Bacon, Kathryn Erbe,
Illeanna Douglas, Kevin Dunn and Zachary David Cope
Director-David Keopp
Rated 14A
Artisan
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The release of Stir of Echoes is a stroke of good luck. Audiences have
been widely flocking to the supernatural thriller The Sixth Sense, which
is essentially a ghost story with a unique twist. Perhaps they’re in the
mood for another offering from beyond the grave. If this is the case,
Stir of Echoes is just the film everyone is looking for - it’s a
masterful creation brimming with moments that succeed in causing
goosebumps. Even if The Sixth Sense continues to conquer the box office,
this second offering still manages to hook you from minute one and never
lose it’s grip on suspense.
Kevin Bacon (after baring all in Wild Things) plays Tom Witzky, a
telephone lineman who lives a settled life with his wife Maggie (Kathryn
Erbe) and son Jake (Zachary David Cope). One night, during a
neighborhood keg party, Maggie’s sister Lisa (Illeana Douglas) describes
to the group the magical art of hypnosis. Tom (who is drunk at the
time), encourages Lisa to hypnotize him for the group’s entertainment.
The method in which writer/director David Keopp (Jurassic Park) presents
the scene is both intriguing and expertly executed; a model for other
films to follow.
After the hypnotism, Tom begins to see frightening images in his mind.
These all seem to be centered around the spirit of a young girl, who
appears in front of eyes in the most surprising places. Tom thinks he is
losing his mind, but he turns to his little boy for an interesting
discovery: Jake has the ability to see the ghost as well. Tom realizes
that he is chosen for something important. What this is, he doesn’t
exactly know.
As a ghost story, Stir of Echoes is both frightening and refreshing.
Keopp has balanced the familiar elements well, finishing with a product
that glues the attentive viewer to their seat for the entire running
time. The mood is established early, and the sheer professionalism never
drops even a smidgen. Everything involving the set-up of the film is
masterful: swooping and winding camera angles that recall Stanley
Kubrick’s best work, believable performances in the key roles of Tom and
Maggie, and some genuinely effective atmosphere that builds efficiently
for a few great scares. Adapting from Richard Matheson’s novel, Keopp’s
material isn’t always on target, but his technical presentation is
absolutely perfect.
In the lead role, Bacon delivers a very solid performance. His character
is easier to relate to than most, and because of this, we accept his
unusual situation with ease. In supporting roles, Illeana Douglas and
Kevin Dunn are both immensely reliable, as is the talented Erbe and
young Cope. Stir of Echoes marks the second good performance from a
child actor in the past month - although Haley Joel Osment’s in The
Sixth Sense is more than just ‘good’, it’s deserving of award
recognition. While first I must cross my fingers that Haley gets a
nomination at Oscar time, I’ve got to commend Cope’s wonderful
presentation also.
I mentioned earlier that the set-up of Stir of Echoes is impeccable. The
second half, I’m afraid, isn’t quite as good. Keopp begins to lean
toward more conventional thinking, and the momentum begins to fade
slightly. Still, you’ve got to hand it to him. Where the director shows
a weakness in one area, he compensates for it in another. His screenplay
is always well-written, and although some audience members may predict
the ending before it eventually rolls around, Keopp’s marvelous
direction always has us strapped in.
Not only is this an intellectually superior thriller, but everything
about it is distinctly eye-catching. The use of the colors red and white
is effective (particularly the first, used during a lot in instant
flashes). As we are taken along Tom’s bizarre breakdown, the surprises
are clever and consistent. The film has a brain, and uses it well,
making for a unique and frightening experience at the cinema.
(C) 1999, Jamey Hughton
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