I can almost picture it. Matthew McConaughey, Anne Hathaway, Jason Clarke, Diane Lane, and Djimon Hounsou all receive the script for Serenity and collectively think that this will be one clever film if they can pull it off. Director and writer Steven Knight also probably thought he had one of hell of a film with a clever twist that would allow it to become more than a typical neo-noir thriller, much like the trailers suggested it would be.
If I knew who cut the trailer for Serenity, I would give them a round of applause. Not only is it well done but it also hides what the film truly is. Serenity was supposed to open back in October of last year and after I viewed the trailer, it was added to my must-see films for that month. Things took a turn when it was announced that Serenity was moving to the end of January and all signs pointed to the studio knowing they had a stinker. I remained optimistic, but the writing on the wall was becoming very clear.
After finally seeing Serenity over the weekend, it’s very clear why the studio dumped the film at the end of January. I’m guessing poor test screenings were a factor because Serenity is a complete tonal mess. It’s part neo-noir thriller and suddenly it becomes something much different once a twist of events reveals what’s really going on. I won’t give away what happens but it simply doesn’t work. Serenity tries to jump genres and in the end, while all involved probably thought this was a clever way to spin things, it just results in a film that’s an unfocused mess that wastes the talents of all involved.
The setup establishes McConaughey as Baker Dill, the captain of the boat Serenity, who makes what little money he has by taking vacationers out for the day fishing for tuna then returns by night to seek a more profitable catch. He enjoys a fling with one of the locals, a woman named Constance (Diane Lane), but there’s no love between them. Baker seems incapable of that emotion. Instead, he is obsessed with a large tuna that keeps getting away. It’s the Moby Dick to his Captain Ahab. His first mate, Duke (Djimon Hounsou), looks on in dismay as he loses all perspective in his pursuit of the fish he has named “Justice.” Things change with the arrival of a woman from his past. Karen Zariakas (Hathaway) is beautiful but tragic. She lives with a husband and Baker’s son, Patrick (Rafael Sayegh). That husband, the foul-mouthed and monstrous Frank (Jason Clarke), has perfected the art of sadism. Driven by equal parts lust and anger, he uses his wife’s flesh as the canvas for his brutality. She wants him dead and has crafted a simple plan by which it can happen. All it requires is for Baker to agree to take him fishing. Then, add in a little alcohol and an improperly attached harness…the ocean is wide and deep. And Karen will pay $10 million for it to swallow him up and leave him for the sharks.
Had Serenity played it straight and been a run of the mill thriller, it would’ve had its faults but it would have at least been trashy fun. There isn’t a lot that works in the film but it does function on a better level when being a thriller is its focus. The interaction between Karen and Dill is enticing enough to keep viewers interested and the dysfunctional relationship between Karen and her husband, albeit hard to watch at times, is intriguing. Even some of the locals, especially Diane Lane’s Constance, offer up some interesting players that inhabit the fishing town of Plymouth. All the style and mysterious characters are in play to make for a decent noir setup but the film loses all its ground once we learn what’s really going on.
Without giving anything away, I will say that the central mystery is explored and explained before the last reel expires but, although this isn’t an incoherent fever-dream that turned most away like mother! some will react similarly. Serenity is a peculiar, niche production with minimal mainstream appeal. It will find its greatest favor with those who value oddball movies that take chances. To its credit, the film is very different but taking chances and being different doesn’t always make for a good film. I doubt Steven Knight and all of those involved wanted this to be viewed as the film that’s “so bad you have to see it” but if you go on Twitter and do a quick search for Serenity, that’s the general consensus from those who I have seen it. In my opinion, it’s not so bad it’s good, it’s just bad and I wouldn’t want you to part with your hard earned money to see it, especially when it will probably soon be available to stream for you to mock and laugh at from the comfort of your home.
The problems with Serenity have nothing to do with performances. All involved give 100% of their skill to the project and that makes the outcome even more frustrating. Matthew McConaughey has made a lot of offbeat choices as an actor but he’s always fully committed. This is a solid performance and a lot of it has to do with the fact that he has an innate ability to disappear into his roles. Although Baker is warped and haunted, there’s something charismatic about him and that is something McConaughey has naturally. Faring even better is Anne Hathaway, who shows she deserves another shot as a femme fatale in a better movie. She’s sexy, mysterious and you never quite know her intentions but she pulls you into her struggle, despite the audience knowing that she’s probably no angel. Also worthy of a mention is Jason Clarke, who chews all the scenery but never goes too far over the top. He has no redeeming qualities as a character and Clarke has no problem taking it to the limit when it comes to things he says and does. In supporting roles, Diane Lane and Djimon Hounsou are adequate and provide the film with more talent that it really doesn’t deserve.
From what I have read from critics who happened to like the film, and there aren’t many since it carries a dreadful 20% on Rotten Tomatoes, was this constant praise of “at least it’s different”, “at least it’s original” and “at least it’s not another sequel or reboot.” I wanting to hand out that praise because we live during a time where there is a lack of originality and we are getting rehashes of things that have worked in the past. There is nothing wrong with seeking originality or expecting it from major motion pictures but Serenity, while different, also insults the intelligence. Twists that change the tonal structure of a film aren’t easy to pull off. Last year A Simple Favor impressed critics and moviegoers by appearing to be a suburban thriller but its true nature was that of a twisted dark comedy that fully embraced what it was. This isn’t an easy feat to pull off and that film offered sprinkles early on that made you realize it was going to more than what was advertised. Serenity spends an hour presenting itself as one thing and then suddenly flips the script with about 45 minutes remaining and the change is so abrupt and deceptive, that it kills whatever mood and tension it was building beforehand. January is known as the dumping ground for bad films and Serenity is another example that proves that fact.
