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Messing with your mind

Psychological thrillers gain a toehold in movie theaters as Hollywood tones down the gore (a bit) with larger PG-13 audiences in mind.

By David SterrittFilm critic of The Christian Science Monitor / February 4, 2005


A raft of current films are trying to get under your skin rather than make you jump out of it. They're part of a boomlet in psychological thrillers - movies that opt for creepy situations over outright gore.

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The reasons for this increase in thrillers are difficult to pin down, but one may be that Hollywood - which has churned out bloody R-rated slasher movies for years - may finally have seen a saturation of the genre. The industry also wants to expand its roster of PG-13 films to draw the widest possible audience, including preteens and teens who are supposedly barred from seeing R-rated films.

Ratcheting down the violence is no guarantee, however, that a film billed as a "psychological thriller" offers meaningful insight into human behavior.

Nonetheless, audiences are turning out for these toned-down suspense movies. The film "White Noise" is a good example. Despite lukewarm reviews, it has fared well at the box office, earning almost $60 million in its first three weeks.

What's newsworthy about the popular success of "White Noise" is that it's a specific kind of thriller - not a spectacle of blood and gore in the "Exorcist" or "Omen" mold, but a psychological story that deals in creepy moods rather than explicit violence. The hero thinks his dead wife is trying to communicate with him electronically, and the movie's chills come mostly from static-filled audiotapes and video images.

That film isn't alone in trying a subtler route to storytelling. Thrillers like "Darkness" and "The Village," action yarns like "National Treasure" and "House of Flying Daggers," and stories of disturbed minds like "The Woodsman" and "Enduring Love" all downplay the mayhem.

Hollywood is also interested in remaking Asian hits, which tend to be elliptical and allusive. The recent American versions of "The Ring" and "The Grudge" fit this category; both have PG-13 ratings.

The surfeit of explicitly violent pictures may make even marginally subtler approaches feel new.

"One does notice less gore [today] than in the cinematic abattoirs where teenagers were routinely shredded into pulp," says Gene Seymour, chairman of the New York Film Critics Circle, referring to pictures like the "Friday the 13th" series. He believes the relative restraint - and huge success - of "The Sixth Sense" in 1999 made an impression on Hollywood.

Its influence "may have more to do with market changes than maturity, though," Mr. Seymour continues. "Even blood lust has its saturation point, right? So it seems natural that once the [movie moguls] found you can scare billions of ticket buyers with implied terror ... movies would start catering to that."

"Still," he adds, "if films like 'The Grudge' are paradigms for this, I seriously doubt it represents a widening of the genre's brain so much as just another way of pushing the same old buttons. The single promise it holds is a deepening respect for mystery and inference. I'm not ready to call it a major renovation."

If a tendency toward subtler thrillers does take hold, it will come as a relief to movie watchers upset by the vast amounts of violence Hollywood has unleashed.