★½☆☆☆
Some things should always be kept hidden away from the sight of the world. Director D.J. Caruso’s The Disappointments Room visits a strange past practice of royalties locking up their children who are born with deformities away from the public. Despite being an intriguing premise on its own, The Disappointment Room squanders it away by setting it as an underlying sub-plot to a grieving mother who is trying to find peace and sanity.
Having just suffered the pain of losing their daughter who’s less than a year old, David (Mel Raido) and Dana (Kate Beckinsale) decide that it might be a good idea to seek solace in a new home far away from civilisation in a small town. Hoping that Dana will be able to take some time in tranquility to heal, it is unfortunate that they move into a house with some history.
Right from the opening title sequence onwards, the mood is set as one that heavily suggests horror and dread. It keeps the audience guessing constantly if something or someone will pop out from some corner when they least expect it. This is further complemented by some apt camerawork by Rogier Stoffers – such as fleeting sequences and perspective shots that suggest someone (or something) is lurking.
The middle section of the film explores the possibility to keep viewers interested with the thickening plot of mystery. The Disappointments Room sadly doesn’t convert its promising premise and exposition to any meaningful climax.
Not only does the blurring of illusions and reality become convoluting for the audience, the final chapter contains a fair amount of shots and scenes that leaves more questions than answers within viewers’ minds. There is a scene for instance where Dana’s real estate agent was flipping through newspaper clippings of reports of unnatural deaths before she reached for her phone to make a call that was never answered. Said scene never made an impact upon any part of the film, leaving viewers wondering why was it included in the first place.
The revelation of the film’s finale keeps viewers wondering if it was really the ghosts of the old house’s past haunting Dana or was it the ghosts of her depression that’s haunting her. Either way, there’s simply too many loose ends left unaddressed and it truly reflects an incapable screenplay by Caruso and Wentworth Miller.
Nevertheless, Beckinsale’s performance is strong enough to lead the audience on through the 92-minute film. Particularly observed in the scene where Dana broke down mentally in front of her husband and friends.
Just like how the film title suggests, The Disappointments Room is full of disappointment and should be left locked forever within the minds of the filmmakers with the key thrown away for good.
Also published on InCinemas.sg
cineJay 