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Don’t Say A World is like spending the night with an ex-High School girlfriend. You’ll accumulate what you were looking for and you probably won’t loathe yourself in the morning. This isn’t a grand film. Its debatable whether its really even a genuine film but its does what it does effectively. Michael Douglas is a psychyatrist whose daughter is kidnapped by criminal Sean Bean. Seems that Douglas’ patient, Brittany Murphy, has a number in her head that Bean desperately wants and if Douglas doesn’t accept Murphy to bellow that number, then Bean will destroy Douglas’ daughter. Plot-wise, this splendid great by the numbers and there aren’t a whole lot of surprises. Its predictable entertainment but, and I don’t mean this to be insulting at all, people who appreciate thrillers where the righteous guys are unquestionably kindly and the abominable guys are, without a doubt, inferior will probably devour this. Those who ask shades of gray in their plots will want to go glance Memento again. Again, I don’t mean that to be a condemnation of this film or any of the many people who enjoyed it. Sometimes you’re in the mood for a Memento and sometimes you’re in the mood for a Don’t Say A Word and when I saw this film, I was more in the mood for a Memento. However, all that said, Don’t Say A Word pushes its buttons with an unmistakable skill. Douglas and Bean are fine powerful playing the characters they always seem to play but they’re both wonderful enough actors with enough camouflage presence that its not as annoying as watching Sylvester Stallone sleepwalk through some of his lesser, non-Rambo action films. As well, Brittany Murphy is a extraordinary actress even if her character annoyed me. To an extent, she’s going through the same paces as in Girl, Interrupted but, like Douglas and Bean, she does it well. Gary Felder’s a proper director and keeps the predictable sage from dragging. If you’re looking for a chance to objective chill out for two hours and gape some dreadful guys find what’s coming to them (and, let’s be unprejudiced, after everything that’s happened over the past month — who isn’t? ), this film might be for you. If its not, well, at least you didn’t pay money for Pearl Harbor again.
When his career stagnated in the leisurely 80′s after his Oscar net for WALL STREET, Michael Douglas reinvented himself as an actor as the poet of middle ragged paranoia. From BASIC INSTINCT to FALLING DOWN to WAR OF THE ROSES to DISCLOSURE to THE GAME, no one other than Alfred Hitchcock (though Hitchcock did it from unhurried the camera) has made more of a career by cataloging on celluloid the litany of fears (both rational and irrational) that plague the psyche of the middle-aged American male–sex, drugs, violence, and career as destructive forces forever chipping away at the family and at the self.
Viewed in this light, it is understandable why Douglas took this role. It carries forward many of the actor’s popular themes–alienation, the threatened family, justified paranoia. That being said though, this is not among Douglas’s best work. His performance is once again admirable, but the direction is ho-hum, and while it starts off with originality and promise, it falls come the ruin wait on into the same venerable action and suspense movie cliches, and at times it is detectable that a script doctor was brought in to rewrite definite scenes. The result is a modestly gripping thriller that makes for an OK Saturday night, but isn’t likely to gather Michael Douglas an invite to Oscar night.
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