Film Review: ‘The Gift’

The Gift Bateman Edgerton
Image courtesy of STX Entertainment

Joel Edgerton gets his inner creep on as a vengeful high-school outcast in his familiar but effective directorial debut.

The sins of the high-school cafeteria come home to roost in “The Gift,” a coolly unsettling thriller that begins as an unironic homage to late-’80s/early-’90s yuppies-in-peril dramas like “Fatal Attraction” and “The Hand That Rocks the Cradle,” before taking a turn toward the moral and existential minefield of Michael Haneke’s “Cache.” A modest but accomplished directing debut for actor and screenwriter Joel Edgerton (who also gives himself a plum role here), “The Gift” is a more psychological, slow-burn genre exercise than the psycho-stalker shocker it’s being sold as by DIY horror specialists Blumhouse and Robert Simonds’ newly launched STX Entertainment. But some supremely effective chills and good word of mouth could spell sleeper success for this Aug. 7 opener.

To an extent, “The Gift” functions as a riff on what might be Edgerton’s pet theme — that of an ordinary man undone by a little white lie that grows into a mushroom cloud of deceit. In Edgerton’s script for the absorbing 2013 Aussie police drama “Felony,” that ordinary man was a basically good cop who made an ill-judged decision to conceal his involvement in a drunken hit-and-run. In “The Gift,” our apparent Everyman hero is Simon (Jason Bateman), a sales exec at a computer security firm who has just moved back to his hometown of Los Angeles with his interior-designer wife, Robyn (Rebecca Hall). They luck into a beauty of a mid-century modern in the Hollywood Hills; he seems primed for a promotion at work. All that’s (conspicuously) missing is the pitter-patter of little feet, though not (as we soon learn) for lack of trying.

Instead, they acquire a different kind of houseguest in the form of Gordon (Edgerton), an unwelcome blast from Simon’s past who bumps into the happy couple (seemingly) by chance and, little by little, inserts himself ever deeper into their lives. At first, Gordon just wants to help, rather like the title character in French director Dominik Moll’s darkly funny  2000 thriller, “With a Friend Like Harry” (an American remake of which has lingered in development hell for the past two decades). Undeniably odd-looking (Edgerton plays the part with pasty, reddish-brown hair, an unflattering goatee and ’80s-style hoop earring in his left ear) and socially maladroit — back in high school, they called him “Gordo the weirdo” — Gordon proffers a series of increasingly extravagant housewarming gifts, effectively invites himself over for dinner and otherwise keeps popping up at the darnedest of times. And that’s before things really get too close for comfort. Rest assured: No bunnies are boiled to a crisp, but things do not end well at all for the denizens of a patio koi pond.

Some people change dramatically after high school, Simon reasons (clearly referring to himself), while others remain the same. But as “The Gift” plays out, it becomes increasingly clear that both Simon and Gordon are still very much the same people they were 20 years before — one an unapologetic bully, the other his unwitting victim seeking payback for a shameful episode from their shared past. That basic setup gives Edgerton license to play with some venerable genre trappings — a mysteriously open faucet, a missing family pet, a shadowy presence encroaching on a foggy shower door — which, for all their familiarity, are deployed with a solid understanding of how to make an audience shift nervously in their seats.

Where “The Gift” toys with our expectations is in its refusal to align itself with any one character or to manufacture obvious heroes and villains. In a typical movie of this sort, Gordo’s efforts to make Simon’s life a living hell would eventually reach the point where the latter’s age-old trespasses — no matter how devastating — would pale in comparison with the former’s vengeful tactics. But Edgerton instead keeps our sympathies tilting to and fro on a knife’s edge, forcing us to constantly reassess which of these two men is the more lethal sociopath.

If “The Gift” isn’t ultimately as intricate or surprising a movie as “Felony” (which was directed by Matthew Saville), it remains the work of a sure-handed craftsman who knows how to keep a story moving and when to tighten the screws. Even at its most routine, the movie offers the pleasure of Edgerton’s own superbly creepy performance, which could easily have devolved into ghoulish revenge-of-the-nerd caricature, but instead turns Gordo into a simultaneously pitiable and unsettling figure — a dejected adolescent frozen in time. Bateman, who played some of these same themes for comic effect in his own 2013 directorial debut, “Bad Words,” seems completely at ease as a compassionless alpha who views the world in clearly demarcated terms of winners and losers. And Hall casts a sympathetic presence as the woman trying to sort out which, if either, of these men she wants in her life.

“A Single Man” d.p. Eduard Grau’s moody, low-key cinematography and editor Luke Doolan’s crisp cutting front a generally strong tech package.

Film Review: 'The Gift'

Reviewed at Arclight Cinemas, Hollywood, July 16, 2015. MPAA Rating: R. Running time: 108 MIN.


An STX Entertainment release presented with Huayi Brothers Pictures of a Blumhouse production in association with Ahimsa Films and Blue-Tongue Films. Produced by Jason Blum, Rebecca Yeldham, Joel Edgerton. Executive producers, Jeanette Volturno-Brill, Couper Samuelson, Luc Etienne, Robert Simonds, Adam Fogelson, Oren Aviv.


Directed, written by Joel Edgerton. Camera (color, widescreen), Eduard Grau; editor, Luke Doolan; music, Danny Bensi, Saunder Jurriaans; production designer, Richard Sherman; costume designer, Terry Anderson; casting, Terri Taylor.


Jason Bateman, Rebecca Hall, Joel Edgerton, Allison Tolman, Busy Philipps, Beau Knapp, Wendell Pierce, David Denman, Katie Aselton.

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  1. Fred G. says:

    Great film that went places we did not expect it to go.

  2. Tom says:

    DAFUQ? Drecky creepy garbage with a drug-rape ending that only Bill Cosby could love. Lengthened from 4 minutes to an interminable 2 hours using a DVD revenge note at the end to try to explain the plot, because that whole flashback thing is backasswards and plausibility is just too complicated and expensive. The sound designer gets to jangle your nerves because it wasn’t happnin in the screenplay.The questions just start at the end, such as why didn’t they warn me and why didn’t I leave when I saw the first red screen. Features wannabes for Charlie Sheen, Anne Hathaway, and Clark Rockefeller as himself. A waste of popcorn.

  3. Reblogged this on At Sixes and Sevens and commented:
    There are no Villains and Heroes. There are only Poisonous Ideas. Hell of a great film!

  4. Jim says:

    I found the movie quite enjoyable. Somewhat predictable yet still going down a road where you weren’t sure where you were going to turn next.

    The movie deserves MUCH higher than a 70. Looking at the reviews from people who actually shell out the bucks to see the movie, you see a much more accurate score. I think sometimes the professional critics get so wrapped up in comparisons, the need for accepted structure, and so forth that they forget to watch the movie and judge it on its own merits.

    Not the greatest movie in awhile, but a good suspense movie nonetheless. Worth the watch.

    I can’t believe this critic gave the movie a C- 😳

  5. Evan says:

    Jason Bateman is such a natural that he sinks into each role as if it were a stylish, comfy sofa.

  6. I have watched a movie named same from late 90’s. It is remake of it or new story?

  7. Warrior Jr. says:

    I always have more respect for actors turned directors who write original scripts rather than adapting books or rewriting an existing script.

    Kudos to Edgerton, good luck with the release!!

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