
Like its thematic cousin,
Memento,
Scott Frank's
The Lookout
places memory loss in the context of a crime thriller, exploring how a
damaged mind might construct (or fail to construct) the sequential
reasoning needed to commit a crime -- or solve one. The two films are
vastly different in structure, however. And while the ostentatious
reverse narrative of
Memento makes it more memorable, as it were,
The Lookout earns big points for seeming like something that might actually happen.
Joseph Gordon-Levitt
is the key to that. He hits all the right notes as a twentysomething
whose boundless promise was eradicated by a stunt he pulled while
considering himself invincible: turning off the headlights when speeding
down a country road. Chris Pratt's guilt and frustration -- the
resulting wreck killed two people -- are omnipresent, but so are
remnants of the confidence that used to define him. The mix makes for a
fascinating character, whose recent introduction to modesty may actually
make him a better person. But there's that little problem of the brain
damage that makes him unable to process simple tasks, and the kitchen he
wrecks in the wake of failing to open a can of soup is a powerful
reminder of that. The directing debut of this accomplished screenwriter
--
Frank also wrote
Out of Sight,
Minority Report, and
Get Shorty -- is a writer's movie as much as it's an actor's. For a story in which event sequencing plays a key role,
The Lookout has the exquisite sense of revealing its many lovely touches in just the right order. It's a tight, meaty, rewarding package.
The Lookout also features strong supporting performances from
Matthew Goode, who goes just under the top as the small-time hood trying to manipulate Chris, and
Jeff Daniels as Chris' blind roommate, who exudes a devilish playfulness.
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