‘Lakewood’ Movie Overview: Naomi Watts Races Towards Time and Tedium in Dumb Thriller

Toronto 2021: The viewers is consistently many steps before this tension-free slog about a mother out to place her imperiled son


Sabrina Lantos

A mom’s morning breeze becomes a gimmick running in plot in “Lakewood,” a crisis plan back striving for bellow-pushed importance that ought to occupy paid extra consideration to its silly suspense mechanics, slapdash style, and implausibility.

The estimable Naomi Watts is consistently in fighting form for the deep feelings of a ache recount, as her all-in turns in “Silly Video games,” “The Not doable” and “The Wolf Hour” attest — hell, throw in “King Kong” too — however as Amy Carr, a widow within the woods (actually, figuratively) and desirous to get to a son in hazard, it’s the actress who’s caught and unable to escape the confines of a cheap entice that ideal gets extra behind because it goes along.

Her captors are filmmakers who would possibly well per chance peaceful know better with the creativity conceivable in restraint. Screenwriter Chris Sparling seriously was a one-particular person plan back exact into an even bigger-than-customary nail-biter with “Buried,” which kept Ryan Reynolds in a coffin for 90 minutes yet showed storytelling chops and persona smarts. Faded director Philip Noyce staked a roar over 30 years within the past with the trio-on-a-boat potboiler “Insensible Mute.”

“Lakewood,” though, feels adore something tossed off, or a bottle-episode conception a writers’ room would rapidly discard; whatever excitement would possibly well had been generated by a mission excellent to filming all the plan thru a virulent disease doesn’t translate onscreen into something else remotely wrenching or artful.

The emotional position-up is the impending one-12 months anniversary of the death of Amy’s husband, as the movie opens with her waking as a lot as a recording of coping treatment and calling in to work to decide on a non-public day. After seeing her basic-age daughter Emily (Sierra Maltby) off on the college bus, she tries to roust her teenage son Noah (Colton Gobbo) from mattress, however it undoubtedly’s obvious he’s in no form to greet the enviornment. Then it’s off in her grey hoodie for a prolonged bolt on nearby woodland roads.

A series of phone calls, though, informs her of blocked streets and police assignment approach her children’s faculties, and when Noah doesn’t reply his phone, Amy’s sense of fright grows exponentially, compounded by being within the direction of nowhere with out a automobile or seeing passing drivers.

For with reference to an hour, Watts runs/jogs/limps whereas frantically calling and texting and GPS-ing, and if you watched that sounds thrilling, it’s not, especially when it’s a snap to wager the arrive regarding the “ongoing incident” that, when she hears it (and it appears to be like to decide on forever to get there), will knock Amy for a loop.

But even that exploitative not-twist doesn’t kick issues exact into a smarter equipment, because Sparling, Noyce and cinematographer John Brawley (Apple TV’s “The Morning Point out”) haven’t made monitoring a desperate parent thru bushes and on lonely roads into the height of filmic tension to commence up with. The wonders and bounds of smartphone abilities, for one thing, set up nothing fresh anymore as a supply of suspense, the data being relayed never leads anyplace spirited, the prepare-along visuals (drone, phone, aspect, at the help of, entrance, help to drone) are lifeless, and the stilted disclose performing alongside Watts’ breathless portrayal — a fellow mom, a 911 dispatcher, a precious auto-physique shop employee, an onsite detective — sounds so pre-recorded it mechanically pulls you out of the 2nd.

That Watts is as dedicated to contaminated fabric as she is a movie remarkable of her gifts is a testomony to her professionalism; she’s a given, and “Lakewood” needs it. That being mentioned, the narrative-rejiggering phone conversations she has to promote within the third act as Amy nears the hazard zone are past any Oscar nominee’s abilities. Perhaps she can enter and bewitch a 10Okay as a comfort prize. Or get Stephen Knight to write her a fragment adore Tom Hardy had talking in a automobile all over “Locke.” More uncomplicated on the legs, for one thing.

Lastly, “Lakewood” saves its last push for social-ills relevance with an execrable credit score scene depicting a persona’s social-media video, how “this has to pause” and so they “received’t dwell aloof” about “how rotten right here’s.” Mind you, this video is rarely if truth be told specific about what took plot, what the difficulty is, and what the politics of it are, completely not within the methodology a survivor who’d incandescent been thru that very explicit, scarring trauma would potentially bid. So what can be safely mentioned is that what’s “rotten” and “has to pause” are cheap, gimmicky exercises adore “Lakewood,” and no one would possibly well per chance peaceful “dwell aloof” about that.

“Lakewood” makes its world premiere at the 2021 Toronto World Movie Festival.

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