'The Whisper Man' review: Adam Scott catches someone kidnapping
Will this story be something to write home about or will Adam Scott's character write something about his new home? Scott stars as Tom Kennedy in The Whisper Man, a new crime thriller adapted from Alex North's novel of the same name. Tom is a seemingly successful author who is looking for a change after losing his wife to cancer. He and their son Jake (Acston Luca Porto) move to Garretton, New Jersey, a small town where the family is originally from. Unfortunately for them, the town is plagued by a new kidnapping case that resembles a 30-year-old case, in which Tom's estranged dad, detective Peter Willis (Robert De Niro), caught the perpetrator Frank Carter, also known as "The Whisper Man". Naturally, Jake becomes the latest victim. Peter is brought back from retirement by detective Amanda Beck (Michelle Monaghan) to help with the case, while Tom tries to mount his own investigation in order to rescue his son.
As you can probably gather from the source material and premise, the movie is very much trying to be a moody and twisty addition to the streaming landscape, appealing to both the true crime fans who want something fictional for a change and also the crime series enthusiasts who are clamouring for a tight two-hour version of what they like. The ambitions don't seem to be all that high, and so low expectations might be a blessing, too. Taking everything into consideration, The Whisper Man is not the worst option out there. Director James Ashcroft submerges the story in an extremely sombre mood very efficiently, and the visual language and shot selection are dynamic enough. Ashcroft doesn't let his cast phone it in either, with Scott, De Niro and Monaghan doing decent work, whilst there's a truly inspired character actor turn by Hamish Linklater (as Norman Collins) that injects real foreboding into the film. He's excellent here.
With all that out of the way, it's good to note that the movie itself ends up being more of a whispering bore rather than a roaring success. Ben Jacoby and Chase Palmer's screenplay isn't able to harness enough of the good elements of its cinematic influences, or sprinkle in the necessary amount of individuality or surprise to make the investigative part worthwhile. Tom, Peter, Amanda and others are way too dull as characters, which is why you're not properly invested when the script tries to probe into father-son relationships, grief, male ego, vices and the dark impulses of traumatised humans. The exposition underestimates the viewer like in many of the film's peers, except it isn't quite as punishing as it could've been. But that is the most praise we can give when it comes to the dialogue and plot developments.
Ultimately, though, the writing and technical execution fumble the ball together. The grand finale is utterly disappointing and borderline laughable, thanks to shaky performances, an inadequate unfolding of the mystery and embarrassingly staged action. For the explosive ending, everyone forgot to bring the dynamite, including Ashcroft, the writers, composer Colin Stetson, editor Christopher Tellefsen and the stunt team. When you're playing with a mystery and horrific crimes, you simply can not resort to the most obvious, mind-numbing resolution. Especially when characters in your movie are trying to say the words "The Whisper Man" with seriousness and without bursting into laughter every time.
Smileys: Hamish Linklater
Frowneys: Ending, screenplay
Jake Kennedy shouldn't sign a ransom note with his initials if he is behind his own kidnapping. He'd never get the money.
2.0/5
Where to watch:
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