the acting, writing, and direction are creative, skilled, cold as ice picks

Rating: 7/10 (18 June 2006)

Closer is a British-American relationship drama about people that really are not too likable, but that it is part of what might be a kind of working thesis for the film should be taken into account. The four principles- Julia Roberts, Jude Law, Natalie Portman, and Clive Owen- are like amalgamations of all of the lesser characteristics of those in post-modern relationship plays and films, where the love and goodness in them is subdued under their lack of connections to one another. That it all doesn't work as well as, for prime example, Nichol's own Carnal Knowledge, may be because of the script more than anything. What is successful from Marber's work- of showing four characters who find what they are looking for, then go into complete and utter disillusionment- it really has to walk a fine line of having these people talking truthfully, honestly not just in the context of their characters but how MOST people do talk in relationships. Sometimes its quite believable, and sometimes not, and when it's not the script lends itself more to the basis of 'hip' language, like Kevin Smith if he substituted pop-culture references for rough innuendo and hurt. It's a hit or miss script from a play that may or may not have been better for the stage where it's necessarily a dialog-driven medium. And because of the time lapses and twists and turns given to the characters over the course of however many years pass in the film, it's as much worth to do for the filmmakers as it is a possible liability.
This all being said, Nichols does give all four characters the proper actors for what they're required for. Even the lesser two of the four (from my point of view), Roberts and Law, have little fascinating moments amid their shallow and flawed sides (and this is from someone who can hardly stand most Roberts movies). Owen, meanwhile, is so good and precise and with flair and directness that it does practically impede on the others to keep up with how much he's into his character's cold, reaching psychology. Portman is actually just as good though, and proves once again her stamina for dramatic scenes, and even for the steamier ones; the scene in the strip club between Owen and Portman is probably the best 'sexy' kind of scene the actors and Nichols have been involved with. As all four reach into a revelatory- and if you're looking into it almost obvious- conclusion, one has to admire the depths that are being plunged here, however lacking some of the more darker realities of the world. It's a story of affluent, ranging middle-class types who are far from stupid, but also have some harsh problems with one another when seeming to have what they want. It doesn't have the exemplary power and theatrical grace of a Bergman theatrical drama, but it is a nifty example on its own for those very familiar with the actors. One more thing, the opening and end credits song, for lack of a better word, comes close to killing the mood big time for me. 7.5/10