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Disturbia: Frank's take
01/06/2007 . Source: Frank Ochieng 
We'll just have to face certain facts that a majority of contemporary films today will always have that reminiscence factor when "borrowing" the stimulating theme from other previously proven flicks, finds Frank. For filmmaker D.J. Caruso's horror/suspense piece Disturbia, this cinematic sentiment is certainly true. Suitably giddy with its horror movie platitudes aimed at mocking the facade of suburban hysteria, Caruso's Disturbia percolates effectively within its defined raucous rhythms. Buy Disturbia in the USA - or Buy Disturbia in the UK  There are obvious red flags in Caruso's eerie narrative that screams Alfred Hitchcock's 1954 classic Rear Window intermingled with countless teen scream entries of yesteryear. In this case, mimicking haunting Hitchockian fodder is not necessarily a bad thing if done with slight imagination and initiative. Disturbia won't forcefully make you forget the original and vibrant voyeuristic fare that has flourished on prior occasions. However, for the MTV/VH1 audience, this thriller thrives with the right amount of scrappy charm and intrigue.
In addition to the aforementioned Rear Window, Caruso and screenwriters Christopher B. Landon and Carl Ellsworth capture the techno-trinket tapestry of surveillance that makes this profile of paranoia cinema rather hip and happening. Hence components from Francis Ford Coppola's The Conversation is aptly aped. Fairly energetic and dripping with modern-day impishness that pays homage to the overindulgent peek-a-boo genre, Caruso playfully manipulates the jumpy devices in an attempt to create an atmospheric jitteriness to the panicky proceedings at large.
Sadly, Disturbia has its minimal elements of staged shocking moments and the various turns and twitches are predictably telegraphed. The plotting is sluggish at times and the audience seems to be one step ahead of the so-called compelling payoff. Nevertheless, Disturbia is a welcoming psychological bombastic B-movie joyride despite the constant petering of the tension build-up.
Beleaguered young teen Kale Brecht (Shia LaBeouf, "The Greatest Game Ever Played") is suffering from a personal tragedy that resulted in the killing of his father (Matt Craven). In addition, an unwise altercation with a teacher at school has put Kale in a very sticky situation. The kid's escalating problems lead to disciplinary action-in this case, a three-month mandatory house arrest where he will be monitored closely. With the summer vacation lingering on and plenty of time to spare, Kale decides to keep occupied by spying on the neighbours as they come and go from his holed up existence.
Among Kale's targeted curiosities is the pretty new gal Ashley Carson (Sarah Roemer) gracing the area with her fresh arrival. Understandably, Ashley is instant eye candy to the caged Kale. Another person of interest to the sideline observer is shady-looking Mr. Turner (David Morse) who's possibly the wanted individual connected to the crime reports the cops are currently following up on so frantically.
Will Kale's mind go berserk as he wonders about the outside world that he's missing out on day by day? How will Kale be able to convey his concerns for the sinister appearance of the mysterious Mr. Turner? When will folks listen to the troublesome Kale and trust his suspicions despite his conflicted baggage?
In many ways, Disturbia is an old-fashioned edge-of-your-seat showcase that probably may be too restraining for sadistic youthful viewers overdosing on sensationalistic piercing and impaling. Plus, the movie's questionable logic may be suspect in most people's minds. After all, why would an adolescent in today's sophisticated climate of computerized electronic games, cellphones, CDs, Game Boy arcade panels or cable TV feel "trapped" about being cooped up in a house for punishment therefore relying on spying as a handy diversion to behold? C'mon now...be serious. Still, Caruso musters up some plausibility for ensuring that our pesky protagonist becomes engrossed by his "old school" Peeping Tom tendencies.
Undeniably, Disturbia is slick and polished. Handsomely shot and for the most part well acted, the movie is visually arresting and does have a good-natured tug at voyeurism as a motivational impulse for frustrated (and frothy) expressionism. LaBeouf's Kale has the right kind of appeal and inquisitiveness to pull off his angst-ridden character as the moral centre of ambivalence.
The supporting players are of a hit-and-miss variety. As Kale's "object of affection" Ashley, Roemer is quite convincing. Obligatory "best pal" Aaron Yoo personifies gleefully as Kale's comic relief interruption. Resilient character actor Morse keeps us second-guessing as the creepy cad with the unpredictable intentions. As Kale's mother, Carrie-Anne Moss gets the short end of the stick in a throwaway role.
Although the love story angle leaves much to be desired, the constant reminders of open windows, excessive gadgets, instinctively odd behaviour, confining spaces, a sense of malaise-all are universal as necessary ingredients for an off-kilter taut thriller that cherishes its old-time scare tactics. The disturbance in Caruso's brand of suburbia may have its goal of Hitchcockian light-headedness but hey...that's not too bad considering the redundant brash bits involving buzz saws and bloody brains. Disturbia is unoriginal but favourably low-key and a simplistic change of pace.
Frank Ochieng
(c) Frank Ochieng 2007
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