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In the murky realms of Grant Singer’s Reptile, audiences delve into a tale woven with intrigue, and mystery. Penned by Singer, Benjamin Brewer, and Benicio Del Toro, the film attempts to entangle the viewer in a web of murder and corruption, manifesting through the gritty lens of a small-town investigation. Del Toro is flanked by supporting actors including Alicia Silverstone, Michael Pitt, Ato Essandoh, Justin Timberlake, Matilda Anna Ingrid Lutz, Eric Bogosian, and Domenick Lombardozzi,. However, the atmospheric tension conjured by the film echoes of potential left unexplored, marking it as a journey through familiar terrains desperately grasping for an identity of its own.
Tom Nichols (del Toro), a detective who moves from Philly to a small town to take a detective job after his wife, Judy (Silverstone), ailing uncle arranges for Tom to take the position. Immediately, he is assigned to investigate the brutal murder of real estate agent, Summer (Lutz). Right away things get complicated as it is discovered that former boyfriend Will Grady (Timberlake), found her body in a foreclosed home they aimed to put on the market. Assisting in the investigation is Nichols’s partner, Detective Dan Cleary (Essandoh), who may be hiding more than he lets on.
Eli Phillips (Pitt), is an initial suspect as he has an ax to grind with the entire real estate community as his family is displaced. His ability to pop up in places he shouldn’t be, and look as greasy and creepy as possible lends to his character being a fantastic red herring. There’s also Summer’s ex-husband (Glusman), whose dead behind the eyes shtick, seemingly leads to probable cause as well. With further investigation, Tom finds the rabbit hole runs deep, and there are more factors at play than just a murder as this cop doesn’t face just one person, but an entire system of corruption.
The film, despite its enveloping atmospheric visuals by cinematographer Michael Gioulakis, stumbles in carving a distinctive identity. It finds solace in the shadows of iconic masterpieces like Dirty Harry and Death Wish, striving to emulate the essence of renowned cop films from bygone eras. The narrative pace lingers unnecessarily, expanding a familiar tale into a two-hour ordeal, tantamount to an overlong episode of Law and Order.
Singer showcases commendable directorial prowess, navigating the script with del Toro’s captivating charisma as his compass. Yet, the film falls short of making a memorable mark on the viewer. It needs cohesive and engaging storylines and a more dynamically harmonious cast–areas where the likes of Justin Timberlake and Pitt seem to struggle.
The film’s potential could arguably be unearthed through a more refined cut, trimming its extended run the most exciting elements of the narrative. Reptile’s familiar echoes still holds the possibility of resonating if executed with a sense of balance. It teeters on the brink of becoming filler in the expansive cinematic domain, waiting for the next blockbuster titan to fling it into obscurity. This highlights the quest for refined storytelling amidst the shadow of its ambitious aspirations that won’t leave audiences pondering its obscured potential.
Title: Reptile
Director: Grant Singer
Screenwriters: Grant Singer, Benjamin Brewer, and Benicio Del Toro
Cast: Benicio Del Toro, Alicia Silverstone, Michael Pitt, Ato Essandoh, Justin Timberlake, Matilda Anna Ingrid Lutz, Eric Bogosian, and Domenick Lombardozzi,
Running time: 2 hr 14 mins
Studio: Netflix
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