The inclusion of the character named Bone (Greg Dunham) is the epitome of The Lookout’s downfall. Because Matthew Goode’s Gary Spargo doesn’t muster enough wickedness to assume the role of villain, Frank adds Bone. Apparently Gary’s uncle, Bone is a quiet, monstrous character, who takes on the look of Gene Simmons in a second-rate horror, with slicked-back hair and black shades. Furthermore, this “boss” assumes an overly tacky theatrical name. Why not Killer or Death? Come on.
More than anything, it is the psychological storyline that works. With a lead that borders on narcoleptic, calls tomatoes “lemons,” and smells colors, The Lookout is most compelling when we watch Chris struggle and develop. Taking into account that Chris was once a popular jock and now a hindered mind made up of ritual, pattern, and repetition, his character creates an interesting juxtaposition. His frustration and regret seep from his skin like sweat.
In the end, an interesting, yet predictable, climax arcs the tale with a most unlikely shot. The predictability comes from the comparisons to the other psychological crime capers, and the unlikeliness comes in the aim and placement of the weapon. Nevertheless, the film has its merits.
Especially if you haven’t seen Memento, The Lookout will be placed higher on your psychological picture pedestal. While the film doesn’t necessarily miss its mark, it simply doesn’t do enough to come off as professional and veteran. Ultimately, tie a black string around your index finger as a reminder to eventually get around to seeing this one.
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