MOTHMAN PROPHECIES


Director Mark Pellington demonstrated some ingenious talent with “ARLINGTON ROAD”, and now again, with “THE MOTHMAN PROPHECIES”, his flair for stunning compositions is evident throughout the film.  Unfortunately, his sense of pacing hasn’t changed much either.  “THE MOTHMAN PROPHECIES” often seems longer than it is, and the incredible cast, direction, and genuine irkiness of the film, can’t make up for that or its horrible script.

The film is based on a non-fiction(?) book of the same name, wherein some unusual incidents allegedly took place in various guises.  Pellington has obviously been influenced by Val Lewton’s theories of horror film sense, that less is more.  Throughout “MOTHMAN PROPHECIES”, one keeps waiting to catch a really good glimpse of the “MOTHMAN” but it “never” happens.  Pellington uses swirling camerawork and an impressive production design to craft an eerie atmosphere, but its “Twilight Zone” conclusion isn’t anything startling, but rather like listening to a campfire tale we’ve all heard before.

Richard Gere plays John Klein, a Washington Post reporter, extremely happy with his beautiful wife and life.  After making love to her in the home they’ve just bought and driving away from the house, she suddenly sees a shocking image of a bizarre creature in front of their car.  Reacting to her fright, the car runs off the road, she’s injured and taken to a hospital where they’ve found she has brain cancer.

She dies, but the sketchbook she’s left behind is filled with images of a bizarre looking creature.
One night, a year or so after her death, the film picks up with Klein on the way to an interview, and when his car stalls on the side of a country road, he finds he’s far away, in a West Virginia town, a distance he could never have traveled in the short time he’s been driving.  It’s these kinds of things, while eerie, but not horrific, which run amok throughout the film.  It may make for some head scratching, but not for an astounding thriller.  Weird sightings, phone calls, and events continue, but none of them succeed in coming together as a whole.  And, the film’s Twilight Zone-like conclusion, has more to do with a dream than it does with the other bizarre incidents taking place, or even the “Mothman” sightings.

Gere is terrific in his role, bringing real empathy to his character, and the story of his personal anguish over losing his wife, is actually the best thing about the film. Unfortunately, the great drama that this sub-plot encompasses, is squashed by the weight of the film’s horror-film aspirations.  It makes little difference that Pellington is trying to make a “thinking man’s” horror film. It doesn’t work!

COLUMBIA TRISTAR has preserved the film’s 2.35:1 aspect ratio with 16:9 enhancement.  The cinematography is outstanding!  There’s incredible detail in every scene.  Colors are bold and striking when intended, and the contrast is flawless! Fleshtones appear natural throughout.
A pan&scan version is offered on the opposite side, and it’s abysmal!  Besides the stunning compositions having been completely ruined, there’s a lot of grain, and the detail is lacking in many instances!



The Dolby Digital 5.1 soundmix is absorbing, but typically restrained.  There are a fair share of surround effects and directionally creative moments, but for the most part, the front soundstage is pretty reserved. The dialogue is always intelligible and free from distortion.

A trailer for the film and a so-so music video are included.