![hide and seek 2005 hide and seek 2005](https://cps-static.rovicorp.com/1/adg/cov584/drv500/v556/v55683ytyja.jpg)
This, in the end, leaves way too much time for ultra-cliched walks down dark hallways and lame jolts in the soundtrack. The critical error that Hide and Seek makes is the decision to reveal its big secret little more than halfway through the film. After an fairly intriguing and nicely built-up first hour, the big “twist” occurs and the film spirals out of control from there. But soon unexplainable events begin happening, leading David to believe that Charlie may not be so imaginary after all.įrom here I will cease with the details and leave those to the discovery of anyone who decides to see the film, which is something I don’t recommend doing. It’s not so uncommon, afterall, for emotionally scarred and reclusive children to have imaginary friends. David immediately assumes that Charlie is Emily’s imaginary friend, and his psychologist friend back home, Katherine (Janssen), echoes the sentiment. Positive, that is, until Emily begins speaking of her new friend, Charlie.
There are a handful of locals who immediately embrace David and Emily’s arrival, including Elizabeth (Shue) and her daughter, Amy (Molly Grant Kallins).
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It’s out in the country, quiet, and peaceful. To try and break her out of the funk, David buys a home in upstate New York to live in. She barely speaks, and when she does it is usually dark and ominous feelings. Months later Emily has still not recovered and has become a virtual recluse in her room. Emily sees David holding Alison’s dead body in his arms and is horrified, scarred, and depressed from that moment on. Things quickly turn traumatic, however, when David finds his wife dead in their bathtub after having committed suicide. Psychologist David Callaway (DeNiro) is leading a seemingly happy life with his wife, Alison ( Irving) and daughter Emily (Fanning). I will purposefully tread carefully on plot details, as Fox has reportedly taken extra measures to ensure that the “twist” is not revealed before opening day. What starts out as an interesting foundation on the feelings and depression after a daughter loses her mother is quickly slapped back into the Hollywood horror pipeline of predictability. This is all thanks to, of course, the near-given surprise “twist” that is in nearly every suspense/horror film made these days. Hide and Seek takes an intriguing first hour of buildup and flushes it down the toilet by downgrading itself to another “killer on the loose” fable that has been done time and again as of late.