Review of Daniel Fake movie from Kickingrussian.

Review of Daniel Fake movie from Kickingrussian.

The psychological thriller Daniel Fake, directed and written by Adam Ejipt Mortimer (Nemesis, Black Holidays), explores the territory of a story about a young man who finds himself in crisis due to a multitude of unresolved childhood problems, and tells about his personality, found himself on the verge of violent destruction. Co-author of the on-screen story Brian DeLiou (Hills of Heaven, Time Rift), who previously released the novel So I Escaped in 2010, together with the director projects the concept of David Fincher’s Fight Club onto the Instagram generation and gets an unexpected result in its own way. If Fincher’s heroes were rebels who sought to resist the world and change it, then Mortimer’s defining struggle becomes the struggle of the protagonist (Miles Robbins, TV series Wonderworkers, Let It Snow) with his inner demon. The horror elements lavishly placed throughout the film add provocativeness to it and for the most part are able to take the viewer by surprise.

Mortimer’s tape leaves a lot of questions as to whether the protagonist’s alter ego is the fruit of his mental illness or is it the same dark force that seeks complete control over his behavior and mentality. A Friend from Imagination (Patrick Schwarzenegger, Midnight Sun, North) emphasizes the protagonist’s schizophrenia and constantly breaks all sorts of boundaries, proving to be vicious and

destructive type. The character of Schwarzenegger is able to impress with his arrogance and impatient irritability when he begins to turn into a real monster, which manipulates with a thirst for a real maniac and with particular joy opens a spiral along which the protagonist will slide into the abyss of a sick mind. Mortimer mixes creepy fiction with real mental states, which certainly works for the film’s general idea and adds to the scale of a personal tragedy. The ego of Robbins’ hero, damaged by post-traumatic stress disorder, needs support, the friend is unexpectedly quickly where the violence happened, and the director grows ugly horror literally from a point, out of nothing, taking advantage of the child’s vulnerability and his not the best heredity. So Daniel fake contains a real concern about the chimeras that live in the head of an ordinary teenager with good manners and good upbringing, which gives viewers an opportunity to look into the world of violence from an unexpected angle and understand how an imaginary playmate turns into a fatal one. monster.

Mortimer’s symbolism in fake Daniel begins to blossom literally from the very beginning, when the violet spiral gradually turns into a swirling vortex of darkness, which is shaken by thunder and lightning, where something eerie and reminiscent of supernatural horror moves in the depths. The next scene of the film shows the usual

a cafe where nothing should happen and everything goes on as usual, but when a serial killer rushes in, shots start to rattle and everything changes dramatically. The scandal between the parents of young Luke (Griffin Robert Faulkner, It comes at night) continues to escalate suspense, Mortimer’s parallel with what happened earlier is too obvious, but this allows the director to introduce the audience to Claire (Mary Stuart Masterson, TV series For a Life, Skin), the boy’s mother, who throws her husband a hyperemotional scene of jealousy with the beating of plates before the impending separation. Faulkner’s character watches with incomprehension what is happening, he is unaware that his mother is seriously ill and suffers from a progressive mental disorder. Luke decides to run away from home for a while and finds himself on the street, then he becomes an involuntary witness of what happened in the cafe, falling into a daze from what he saw and also not understanding absolutely nothing.

It seems that the violence and irritability of the whole world have captured the boy in the ring, but then his peer Daniel (Nathan Chandler Reid) appears, who saves the situation and invites the boy to go and play elsewhere. For Mortimer, this moment becomes the beginning of a great and strange friendship between the two children, there is no doubt that Reid’s character is a figment of the imagination of Luke, a child with a fine mental organization and a huge restless fantasy. Unnoticed, Daniel becomes not only a constant participant in the boy’s amusements, his

a spiritual listener and helper, he begins to take possession of Luke’s space and push him to do terrible things. For example, add mother’s antidepressants to the mixer and prepare a superpower cocktail for her, it doesn’t matter that Claire barely survives after such an experiment, an imaginary friend is trapped in grandma’s dollhouse. It is important for Mortimer that his young antagonist is inside a closed, claustrophobic space with windows flashing ominous red light and there he harbors a sophisticated revenge for Luke, who will turn the key on the door of the house a few years later, when his mother’s schizophrenia becomes more pronounced, and the world of loneliness and talent will ring around a college freshman.

In a sense, Daniel, the fake Mortimer, challenges good intentions and begins to pave his own road to hell for Luke, in a rational world his hero is actually locked up, but instead of the traditional development within the framework of a horror film, the director offers the audience a kind of odyssey of reason in search of peace and return of the protagonist to the forgotten self. The matured protagonist, played by Miles Robbins, tries to survive in any way, including releasing the dark entity that has matured with him from the seemingly closed toy rooms. However, Mortimer has his own view of the modern version of the story of Dr.

Jekyll and Mr. Hyde, in his interpretation of the project turns into a story about Luke’s search for inner strength

and identity, the supernatural Daniel is in this case his guide to the world of independent life and freedom. From the hero Patrick Schwarzenegger, the protagonist receives emotional and psychological support and plunges more and more into the stream of codependency, when his self more and more begins to grow into a predatory and unpredictable us. In some places, Mortimer’s project takes on a special soil and begins to speak with absolute sincerity about deep pain and the search for compromises between fantasies and reality, so the sadness that underlies the tape begins to grow and constantly question both the rejection of logic and rationality. The last thing a director wants is for the tape to sound like a cliché lesson that gives the audience advice on how to live or explains everything that happens through the prism of fantastic jumbles.

The lust for life and expression that overwhelms Luke after his move to college show his infantilism in relationships with girls. Growing up under the supervision of a mentally ill mother, Robbins’ character is in dire need of someone he can trust, who will accept all his oddities and provide human support. However, each time Luke is triggered by the effect of an empty vessel, his romantic infatuation with the young artist Cassie (Sasha Lane, Hellboy, Hearts Beat Loud) and a passionate connection with student psychology Sophie (Hannah Marks, Old Habits, High

permission) become a kind of indicators of living in previous dreams and lack of socialization. By telling and visualizing in Daniel the fake experiences, feelings and – Page 10 of 10 – sensations of the protagonist and his imaginary double, Mortimer chooses a seemingly intuitive path and tries to use horror techniques to show some new sensitivity of a young man in search of a long-lost comfort zone. The transformation of Luke, who is not very inclined to search for contacts, into a photographer who begins with Daniel’s filing looks quite metaphorical, thanks to the camera, Robbins’ hero gets attention to his person and acquires special freedom, turning his otherness and schizophrenia into the first dividends in communicating with girls. The second self of the protagonist, thanks to Schwarzenegger, flourishes with its masculinity, the director deliberately shows two completely different intimate scenes, where Luke and Daniel participate, emphasizing two different sides of sexuality and thereby relieving the tension growing between the young man and his mental double.

Of course, Schwarzenegger’s acting skills and the script do not allow the antagonist to plunge into the Mephistopheles’ depth, the central characters find themselves overwhelmed with vanity and love for themselves, they constantly demand attention, want possession as in childhood, passed with a single mother, but eventually come into conflict for the joys of life, for sex and for absolute control. Unwillingly, Mortimer for all

becomes a latent moralist by the extremeness of the narrative and unobtrusively emphasizes that promiscuous sex life and drugs have not brought anyone to good. Nevertheless, the director never goes far in terms of semantic encodings, Luke’s bad heritage perfectly acts as a driving force for the plot and allows Mortimer to constantly switch gears from horror to thriller and vice versa, relying more on the sensory perception of the project and erecting cruelty in the main trigger for the development of the action. The main thing for the director is not so much the final result that followed after the climax saturated with irrationalities, but the path itself, where the journey of Robbins’ character into the conditional spiral abyss from the prologue becomes the main achievement and makes the receptors flutter for a long time without any amendments to Fight Club. Mortimer’s portrait of a Gen Z hero is two-person and turns into a story of possession of bodies and rebirth.

Therefore, the fake Daniel is able to break through illusions and collide them with reality, bringing to the fore the directorial potential of Mortimer, who progresses in the presentation of complex concepts and does it with the utmost passion.

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