Cast: Denzel Washington, Sanaa Lathan, Dean Cain, Eva Mendes, John Billingsley
Director: Carl Franklin
Producers: Neal H. Moritz, Jesse Beaton
Screenplay: Dave Collard
Cinematography: Theo van de Sande
Music: Graeme Revell
U.S. Distributor: MGM
One could probably best categorize Carl Franklin's Out of Time as "disappointing, but barely watchable." A moody crime story featuring Denzel Washington, Eva Mendes, and Sanaa Lathan, Out of Time is the latest effort from the actor-turned-director. Franklin, best known for his edgy, atmospheric thrillers (One False Move, Devil in a Blue Dress) has the "atmospheric" part of the equation working here, but not the "edgy" aspect. Out of Time is a generic thriller with nary a surprise in store for the experienced film noir viewer. Worse still, the central motive underlying the crime doesn't stand up to cursory inspection.
Out of Time introduces us to Matt Whitlock (Washington), the Chief of Police of Banyan Key. Currently in the process of divorcing his wife, Detective Alex Whitlock (Eva Mendes), Matt has embarked upon an affair with a married woman. Ann (Sanaa Lathan), Matt's high-school sweetheart, is wed to abusive ex-quarterback Chris (Dean Cain), but is willing to renew her romance with her ex-flame. One day, Ann confesses to Matt that she is seriously ill with cancer. Her only hope is to travel to Europe and receive experimental treatments - a trip she doesn't have the money for. Eager to save her, Matt steals $485,000 in drug money from the police safe. No sooner does Ann have the money than her house burns down. Two charred bodies are found inside, along with evidence of arson, and Matt finds himself in the uncomfortable position of being the #1 suspect - unless he can hide his past relationship with Ann from the lead investigator, who happens to be his wife. Plus, the DEA wants the money that is no longer in the Banyan Key PD's safe.
To counterbalance the script problems, at least we have Denzel Washington's acting and Franklin's sense of style. No doubt about it, this movie looks and sounds great. The camerawork is impeccable, transporting us the Florida Keys, and the Carribbean-flavored score by Graeme Revell adds to the exotic taste. Franklin may not be working with the strongest screenplay (credited to Dave Collard), but he does what he can to beef it up. And there are times, especially during the film's second half, when the chase sequences develop momentum, particularly as Matt becomes increasingly frantic to cover up his involvement with Ann.
This will not be remembered as one of Denzel Washington's great performances, and he certainly won't be awakened early on a chilly January morning to hear that he has been nominated for an Oscar. Nevertheless, Washington is more than competent, and the actor's likeability is easily transferred to the character. He is at his best when the situation is becoming difficult - he handles Matt's escalating desperation with ease. The female leads - Eva Mendes and Sanaa Lathan – are given so little of import to do that they end up providing little more than a pair of pretty faces. Dean Cain is credible as a villain, and John Billingsley does an acceptable job adding comic relief via his part as the local M.E.
The biggest plot problem is that it's never adequately explained why the criminals will settle for $485,000 when they could easily (and probably with less effort) have had more than twice that. (There's a $1,000,000 insurance policy floating around.) By ignoring gaffes like this, the movie shows a lack of respect for the intelligence of its audience. Too much of what happens is either predictable or easily telegraphed, seriously limiting the potential for suspense and tension. Franklin is an accomplished director, but this is not one of his stronger efforts.
© 2003 James Berardinelli