The Voices

Marjane Satrapi – known primarily for critically acclaimed animated coming-of-age drama Persepolis (2007) – has clearly taken a bold u-turn with her first foray into the landscape of English-language film. Playing like the cinematic love-child of Dr. Doolittle (1998) and Psycho (1960), this film will struggle to bore but likely confound. Set in whimsical, small-town America – arguably the perfect setting for a rom-com slasher – Ryan Reynolds leads as loner Jerry who seeks companionship and counsel from his pet cat and dog. Whilst starting his new job at a bathtub manufacturing factory, he befriends the majority of the female contingent in Accounting and things slowly start to go downhill from there.

Satrapi’s direction, combined with Maxime Alexandre‘s iconic cinematography and long-time collaborator Stephane Roche‘s slick editing, ensure you are swept along this manic and bloody fantasy. Anna Kendrick provides levity and warmth as vulnerable and charming Lisa, balancing Gemma Arteton‘s femme fatale Fiona perfectly. The same can be said for Jacki Weaver‘s restrained court-appointed psychiatrist.

While it’s fair to say all the supporting cast have their moments, this is Reynolds’ show. His skillfully offbeat charisma, side-splitting comedic timing and heart-breaking humility spurs the feature effortlessly and elevates it beyond its idiosyncrasies (and we haven’t even discussed his pitch-perfect animal personalities). This seems like a conscious progression for our leading man, and from the evidence on display, one can only hope he continues in this trend.

Warped and hilarious, in a deeply dark way, this manages to move and entertain in surprisingly equal measure. The laughs continue to amuse as the narrative takes increasingly dark turns. This rarely feels misguided or exhaustive, but its inability to categorize itself unfortunately frustrates. Additionally, screenwriter Michael R. Perry fails to leave a lasting impression by robbing the audience of a worthwhile conclusion.

The Voices incapability to develop beyond its premise, leaves you feeling slightly underwhelmed. But whether you leave the cinema fulfilled or bemused, The Voices flies by at an intoxicatingly propulsive rate. A joy ride that may not stay with you for long, but entertains all the same. Highly recommended for the fringe black comedy fan.