A great horror film with some surprising intricacies

Rating: 9/10 (12 January 2007)

The opening scenes of Identity are the best. It begins with a psychiatrist (Alfred Molina) listening to testimony from a patient of his, Malcolm Rivers (an eye twitching Pruitt Taylor Vince). He apparently killed innocent people four years previously and has been sentenced to death. This setup gives the impression we're going to watch an intense courtroom drama about mental illness. Then intriguingly it becomes a completely different film.
The scene then changes to something right out of a hundred horror movies. Strangers that gradually gather at a spooky motel. All set against the backdrop of a dark and stormy night. And the guests are slowly whittled down one by one. These two seemingly unconnected story lines gradually converge over the course of the next 90 minutes. And thanks to James Mangold's confident direction and some superb acting, Identity emerges as a gripping, engaging and surprisingly thought-provoking horror film.
I don't want to give too much away about the plot because the greatest joy to be had is watching the mysteries unfold. All of the characters at the motel are entertaining in their own way. Special mention should go to John Cusack and Ray Liotta. One who is a cop. And one who isn't. The film itself will explain what that statement means, and its all handled with a surprising deftness.
I love the interconnecting events concerning how each one of the guests end up at the motel. The situations sometimes flow into each other, such as John Cusack's character encountering a family stranded on the highway who all end up going to the same motel.
Rebecca DeMornay puts in a scene-stealing appearance as a faded film starlet. And what really shocked me was that I didn't even know it was her until the credits rolled. Amazing how a famous face can go right past you.
Not all of the characters are famous, but they do a good enough job of fleshing out their identities, and they become something more than just stock filler material until their time in the spotlight is up. They all come complete with their own pasts and separate agendas.
I was glad to see Clea DuVall in the cast, a very underrated actress. But unfortunately, she isn't given much of a chance to shine like she has in some of her other film roles, like The Faculty. In that film, she was able to transcend what could easily have been a very clichéd character. But in Identity, she isn't given much to do beyond crying a lot, and the way she's written out was disappointing. Especially for an actress of her considerable talents.
Amanda Peet brings some much needed depth to the role of a prostitute. In some ways she is the most rounded character out of the lot. Especially because she gets to fulfil a life-long dream during the course of the film.
And John Cusack and Ray Liotta provide a fascinating counterpoint. Cusack serves as a logical anchor, and Liotta is a tightly wound hothead with a few secrets of his own. Watching the sparks fly from these two is worth the price of admission alone. And look out for Jake Busey as the customary eye-rolling psycho added into the mix.
One thing that was refreshing about Identity is the way its sharp and involving in this postmodern era of horror movies without having to resort to Screamesque in-jokes and genre nods. The taut direction and sheer talent of its stars is enough to carry the film forward. The film occasionally dabbles in areas such as destiny and fate that feels like its wandered in from Final Destination. That only serves as a distraction. Identity is at its best when functioning as an engaging horror shocker, before it pulls the rug out from under us.
The thing that people pick up on about Identity is the shocking plot twist that surfaces three quarters of the way through. And what a plot twist it is too! A twist that involves the scenes with Alfred Molina converging with the events at the motel. And it does it in a very satisfying way that lends the film a conceptual sophistication like something out of a Charlie Kaufman film. And there are more plot twists to come.
I can't say anything more about them otherwise it would rob the climax of its immeasurable power. It could be regarded as a directors cop-out, but not when you deconstruct the rest of the film beforehand. I for one loved Identity, and its ingenious multilayered approach. It left me pondering the notions of identity and reality for days afterwards.
Watch Identity, and you'll see what I mean.