Studio: Hammer
Director: Joe Stephenson
Writer: Dan Kelly-Mulhern
Producer: Liam Coutts, Joe Stephenson, Guy de Beaujeu
Stars: Eddie Izzard, Scott Chambers, Robyn Cara, Morgan Watkins, Jonathan Hyde, Simon Callow, Lindsay Duncan
Review Score:
Summary:
A reformed thief looking to get his life back together takes a job working for a disgraced pharmaceutical CEO who hides a murderous alter ego.
Review:
Many critics and serious cinephiles insist you should only critique a movie based on what it intends to do and how well it accomplishes those aims, as opposed to what your expectations were and how closely it delivered what you wanted. The suggestion makes sense in theory, although it's often difficult to tune out reasonable preconceptions and go into a film with a completely blank slate. Audiences assume M. Night Shyamalan thrillers will feature shocking twists or that Tim Burton productions will include distinct Danny Elfman scores based on precedence, not on irrational demands invented from thin air.
Take Hammer's "Doctor Jekyll" starring Eddie Izzard as a similar situation. Izzard publicly came out as genderfluid some time ago, ultimately committing to she/her pronouns around 2020. The British actor/comedian also goes by the name Suzy, but continues using Eddie professionally since that's how most people know her. Unless I'm mistaken, "Doctor Jekyll" marked her first film playing a woman rather than a man since Izzard fully transitioned into identifying as such.
As a straight white male probably already past the peak of middle age, I'm wary of my worldviews calcifying the way they typically do for cranky grey-hairs who don't want kids on their lawn. Keeping my mind open to evolving social trends is one of the reasons why I actively seek out entertainment with diverse content from diverse creators, with another reason being I'm bored of the same stereotypical stories we've seen recycled over and over again.
So forgive me if my perspective appears naive or perhaps prejudiced in a way I'm unable to see; I promise I operate in good faith. But I guess I had it in my head that "Doctor Jekyll" might present an interesting opportunity to explore a gender identity crisis through the lens of a famous transformation tale, possibly with Eddie Izzard playing both a man and a woman as the two sides to Jekyll and Hyde.
Except that's not the case at all. Izzard's Dr. Nina Jekyll is introduced as trans, but only in a newspaper headline during a title montage that sets up her character as an embattled pharmaceutical CEO. After that, "Doctor Jekyll" follows a familiar plot where Jekyll's gender isn't relevant at all.
I'm not saying that's good or bad. Perhaps horror isn't even a safe space to tackle divisive topics by featuring a transgender villain in a genre where that's previously been problematic. I'm merely saying the straightforward path isn't as creatively intriguing as a road where an edgier alternative might have taken the movie.
"Doctor Jekyll" isn't really a retelling of Robert Louis Stevenson's classic Gothic novella. Rather, it's a sequel, with Nina Jekyll eventually revealing herself as the granddaughter of infamous alchemist Dr. Henry Jekyll. As a matter of fact, I'm not sure Nina can be considered the main character. That role belongs to Scott Chambers as Rob.
Recently released from prison, Rob wants to put his past life as a drug-using thief in the rearview mirror. On a referral from his brother, Rob gets an interview for a job as the live-in caretaker for Dr. Nina Jekyll, who has been suffering from a malady and needs someone to administer meals and meds. Estate manager Sandra thinks Rob must have made it on the candidate list by mistake. He doesn't know who Kafka is, named his daughter after Ariana Grande, and eats Kellogg's cereal for breakfast like the uncultured commoner he is. But Rob earns sympathy for his commitment to getting back on the straight and narrow, so Nina grants him the gig over Sandra's objection about inviting a degenerate into the home.
I knew I recognized actor Scott Chambers, but I wasn't sure from where. To my astonishment, it turns out he starred as Christopher Robin in "Winnie-the-Pooh: Blood and Honey 2" (review here), an abysmal DTV disappointment where Chambers stood out as the sole bright spot for delivering a surprising performance I said was "far better than expected, and frankly far better than a fright film needs at this low level." He might have been singlehandedly responsible for 20 of the 30 points (out of a possible 100) I awarded that movie.
Chambers puts in a pitch-perfect portrayal of Rob. There's a risk with the reformed criminal archetype that they'll be a tattooed tough guy or jittery junkie, but Chambers plays up Rob's sympathetic sad sack side instead. His nervous smile conveys a heart-of-gold innocence that's so charming in a bumbling bumpkin sort of way, it's hard to imagine him ever shooting heroin or breaking into homes. You can still believe it though, because there's an air about him where he desperately wants to please others, or have them be pleased with him, so he sells the type of gullible guy who'll go along with anything to avoid rocking the boat. He's an easy underdog to root for.
Most of the movie's first hour involves Rob avoiding the influence of his sketchy ex to be the inside man for plundering the Jekyll mansion, endearing himself to Nina, and slowly becoming suspicious about his boss' sudden mood swings. But "Doctor Jekyll" can't wring significant suspense out of this setup because there's no mystery for any viewer who knows the story of Jekyll and Hyde, which should be everyone over the age of ten. We're well aware what Nina's sly smiles signify and what really happened when her estate manager vanishes, yet "Doctor Jekyll" acts like it has a surprise up its sleeve even though its arms are laid bare in a tank top.
"Doctor Jekyll" becomes a portrait of this desperate man rather than a portrait of someone dealing with dueling personalities. I suppose the duality theme can still be found in the parallel of Rob trying to mold himself into a different person than the one he was prior to prison. But the horror hounds who see the Hammer banner can't help but wish more meaningful time was spent with Jekyll, as even Chambers's compelling performance pales in comparison to Izzard's presence. Now, is that the fault of the fright film fan who set a certain expectation, or the fault of a fright film that doesn't make its title character the center of attention?
After an hour of average drama running at regular speed, "Doctor Jekyll" ratchets up the intensity for a feisty finale that might come too late for those who weren't enticed to make it that far. Again, the movie hints at how much wilder it could have been as the film finally lets Eddie Izzard off her leash to do what she does best: chew up and spit out biting monologues that harness experience honed on stage across several decades. It's wickedly enjoyable to watch Izzard clearly relishing her second role as Rachel Hyde after being previously relegated to playing Nina Jekyll as a housebound normie.
Striking flashes of energetic inspiration come with the caveat that they only occupy less than a third of the runtime. "Doctor Jekyll" teases a capacity to deal higher cards than the top pair it puts on the table. I'm still wondering what might have been if the movie amounted to more than two terrific actors in service of a standard script that doesn't live up to their talents or completely coax out their chemistry.
Review Score: 55
The straightforward path isn't as creatively intriguing as a road where an edgier alternative might have taken the movie.