by Shane Conto, Staff Writer
We have all probably had a family member who has required at-home aid. This can be a tense situation to begin with. There is plenty of emotion in such a situation. But throw in a disappearance, some suspicious neighbors, and lots of looming secrets, and you have yourself a film that is ripe for Lifetime… but somehow made it to the big screen.
This is the case with The Ruse, a film with quite a specific tone. Writer/director Stevan Mean presents the film with a strange approach. Multiple aspects are awkwardly turned up a few too many notches. First off, melodrama is drenched all over the film in a way that is funnier than building suspense or tension, and the music is overbearing in every way possible. The smallest beat is overblown by the huge musical choices. Additionally, the camerawork is aggressive and big. This small, quaint, and claustrophobic locale needs some subtlety, yet there is none in The Ruse. Every twist and turn is overly telegraphed by the directorial choices. The film is quite the slog as well… until it turns up to 11 with a wild climax that comes crashing down immediately.
The Ruse is at times completely uninteresting. Its climax is probably the best part, since at least it is entertaining and ridiculous. But the way the mystery comes together is unsurprising, because the script telegraphs every single twist. The heavy-handed approach to everything is obnoxious and ridiculous, taking the fun away from what is revealed. It lays down red herrings that are so out of left field — they’re forced. The dialogue is clunky and awkward, making every scene uncomfortable, and the movie is full of logical leaps and clichés.
Despite its ridiculousness, the climax brings everything to a screeching halt for the exposition dump of all exposition dumps. Then the film spirals into an action sequence that is wholly out of place. There are too many characters who are just complete caricatures, including the protagonist’s unbearable boyfriend and the awkward grocery delivery guy who is a straight-up creep.
The strongest element of the whole film, though, is screen legend Veronica Cartwright. Alien and Invasion of the Body Snatchers alumna, Cartwright delivers a believable and effective turn as a famous composer who needs an at-home aid. Unfortunately, Madelyn Dundon is not believable or engaging as Dale, the film’s protagonist. There are some solid, emotion-filled moments, but much of her performance is flat. Michael Steger delivers a passable turn as a suspicious neighbor, but he lacks the charisma to really stand out. The rest of the cast is filled with awkward and unconvincing performances that do the weak script zero favors.
There are so many clunky and awkward elements in The Ruse that it is hard to really appreciate it or what it is going for. It never delivers on its many leaps in logic and heavy-handed setups. The film has a made-for-television feel that just might entertain you… in the wrong way.
Rating: Hated It
The Ruse is currently playing in theaters
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