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Sin
Ving
Rhames plays Eddie, a former cop frustrated by his inability to prevent
the drug induced decline of his younger sister, Kassie. Gary Oldman
plays Charlie, the voyeuristic sadist and underworld kingpin responsible
for her addiction. The two men clash in ‘Sin,’ a violent sermon on
culpability and recompense.
Our story
opens with an effective juxtaposition of the pastel serenity of Eddie’s
rural existence and the world of neon excess inhabited by Charlie.
Regrettably, this is one of director Michael Stevens’ few attempts at
subtlety. Thereafter, despite the bleak subject matter (e.g. sexual
assault), ‘Sin’ becomes a by-the-numbers action film complete with
fisticuffs, gunplay and one of the most over-the-top car chases in
recent memory. Just for kicks, they throw in some tiresome and
inappropriate sex gags.
Although
their presence is undoubtedly the film’s selling point, Oldman and
Rhames are merely adequate in their roles. However Kerry Washington (as
Kassie) delivers a performance noteworthy for its emotional impact. Her
vulnerability and despair are among the few credible elements in an
otherwise ridiculous film.
In perhaps
the least convincing scene, Charlie attempts to murder Eddie in a manner
so elaborate as to recall the villains of Bond and Batman. Will Eddie
perish at the hands of this madman or will he escape in time to fire off
a few more rounds of screenwriter Tim Willocks’ macho dialogue. No
review of ‘Sin’ would be complete without reference to the groan
inducing script, the nadir of which arrives in the form of Eddie’s
rebuke to the goons gunning for his life. “When you want to dance,”
Eddie hisses, “you let me know. Otherwise, stop wasting my time.”
Steven’s
directorial restraint is perhaps the most commendable aspect of this
production. Although the film features a scene of appalling sexual
cruelty, it is depicted with skill and sensitivity. Where some
directors feel compelled to exploit the nudity of their subjects,
Stevens’ ably communicates the horror of the event by focusing primarily
on the reactions of those observing it. This evocative yet
compassionate approach bodes well for Stevens’ future projects but is
sadly absent from the majority of ‘Sin.’
In
closing, we must acknowledge the brief cameo from Hollywood’s hardest
working character actor. Just as film financiers once hesitated to
bankroll any new film unless Gene Hackman signed on, producers must now
obtain the services of the ubiquitous Brian Cox. In this decade alone,
Cox has already appeared in more than twenty films, including ‘The 25th
Hour’ (2002), ‘The Bourne Identity‘ (2002) and ‘The Ring’ (2002). If he
continues apace, Cox may well become the subject of movie buffs’
drinking games.
The disc
is devoid of special features.
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