The fragment and the whole

Rating: 8/10 (18 October 2008)

When he was younger and suppler, Hewlett looked like MacLachlan and like Lemmonprettier than Lemmon, and subtler, brighter than MacLachlan (and, needless, I hope, to mention, a vastly superior actor). He certainly is an interesting actor. Extremely fit for slick, urbane, ambiguous characters, of subtlety. You see, the script seemed to require for underlined performances verging on overactingexcept for Hewlett; him, in part due to the nature of his character, maintains a soberer demure.
Before this, I have seen an ulterior installment of the CUBE,one looking more futuristic. This one looks quite industrial, quite rough, like the deliberately wornout sets of the ALIEN.
The first installment, that is, the original one, is hugely suspenseful, relatively well acted (Hewlett is the only distinguished performer), and quite violent. What sets apart THE CUBE is a sort of uncompromising boldness and forceit's not exploitation, it's an ambitiously conceived movie. It's very concept is strong and bold. As a metaphor, it has the sense of keeping understated. It does not look, and, in fact, it is not the existentialist manifesto. If offers, delivers a small portion, a fragment of an unknown set. So that it does not look like the deliberate didactic illustration of a thesis. Such an _absurdist take is very vehement and efficient. Do not patronize the audience, let them get only a fragment.
Fastpaced, this thriller is wise in not pretending being able to say more about its characters than it's possible at such a pace. Some of them are merely sketched; others, are deepened. This depends on the performers, too. Such movies are less riddles, and more shocks, punches. THE CUBE is relatively smart; but it's good that it does not turn out being too smart. Because its strength is its fundamental honesty. It's very scale is intended as small, unassuming and fragmentary; at least, this is how I figure it. I liked the fact that it seemingly did not attempt to force one take it for what it's not .
At certain turning points, the script is unafraid of taking unexpected decisions.