Sets itself apart, but no lasting appeal.

Rating: 5/10 (19 April 2007)

The analogy that I have decided appropriate for a film such as this to a classic such as Rear Window (1954) would be the comparison of a fast food meal to that of an elongated meal in a comfortable restaurant. While the same purpose essentially remains, the difference lies in the subtle nuances, attention to detail, and the lingering feeling of the plot. Disturbia plays out like a candy barinitially sweet and satisfying, but inevitably does not have a lasting impact.
I'll start with the positives first. Disturbia has a lot going for it for several reasons. One, it has separated itself far enough from Rear Window, to keep it fresh and inventive enough while still being held under the wide scope of Hitchcock's original film. Second, its incorporation of technology as a primary tool used by the characters is important because it ties the film in with the generation it has been targeted to. The use of computers, cell phone cameras, and various musical devices all create an excitement in the viewer which propels the story on a very linear path. Another interesting, but much more subtle modern twist to the story is the persistence of Hale (Shia LaBeouf) to having a relationship with Ashley (Sarah Roemer). In Rear Window and in the 1950's in general, there was a much more obvious push for a woman to find a man to pursue. As a teen film and as far as society goes, this trend has pretty much reversed, and it was very interesting to see the noticeable foundations of LB Jeffries (Jimmy Stewart) and Lisa (Grace Kelly) shine through.
The negatives, unfortunately far outweigh the positives. First, the film settles for cheap explanations and diversions to continue the story without interruption. For example, Hale (Shia LaBeouf) never has a second encounter with the judge even though he violates his terms purposely. The filmmakers have sacrificed reality to drive the narrative, which constrains the viewer to the inconsistencies rather than the impending terror. Second, and in my opinion, the most important factor is the absence of the inner workings of the other neighbors. What was most enjoyed in Rear Window was the seeming irrelevance of the lives of the neighbors. While Disturbia makes it quite clear when and where the conflict will arise, it doesn't let the audience lower their guard or become distracted with others' petty problems as such in Rear Window. The third lies on the character of Mr. Turner (David Morse), who becomes too involved with Hale and his mother (Carrie-Ann Moss) too early in the film. He quickly loses his edge because the audience now has put a personality to a face. In Rear Window, when Mr. Thorwold slowly moves his head to peer into the room of LB Jeffries for the first time, at nearly the end of the film, there is an immediate terror that runs up the audience's spine. They have not met this character and they have no idea of his intentions or what he has done. To the audience, he is an enigma.
It's easy to see that Disturbia has problems that far outweigh its positives; however this is not to say that it's not a fun movie. This is a film that brings back the complete essence of going out to the theater. The popcorn, the screaming pre-teens, and of course the lightning-paced plot all contribute and throw back to the feeling of a night out. While not nearly up to par with Hitchcock's classic, Disturbia definitely sets itself far enough apart from the film to tread in new territory and appeal to a completely different audience.