“Reptile” is a Netflix film belonging to the thriller, crime, and mystery genres. While the story unfolds at a deliberate pace, it provides ample space for character development. This movie is notably character-driven and boasts a cast filled with familiar faces. The overall style and ambiance of the film may evoke comparisons to “True Detective” (which coincidentally has a new season on the horizon) or even Denis Villeneuve’s 2013 work, “Prisoners.”
In terms of runtime, “Reptile” aligns closely with “Prisoners” (2013) and many of the brilliant Korean genre films we hold in high regard here at Heaven of Horror. At a duration of 2 hours and 14 minutes, it may seem extensive, but this film’s intricate narrative necessitates this length. To fully engage with the crime mystery that unfolds, it’s advised to keep your phone out of reach and remain completely focused. For more insights, you can continue reading our full review of “Reptile” below.
REPTILE: Story
The film’s central character, Tom Nichols, expertly portrayed by Benicio del Toro, is the epitome of a seasoned homicide investigator. However, despite del Toro’s admirable performance, the film suffers from its weak script and uneven pacing, which ultimately weakens his dedicated efforts.
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Within the cinematic universe of “Reptile,” Tom faces important decisions, delicately balancing his unwavering commitment to solving the case with the nurturing of his personal relationships. In particular, his steadfast wife, Judy, brought to life by Alicia Silverstone, remains a pillar of support throughout his difficult journey.
Justin Timberlake plays the victim’s boyfriend, who is initially cast as a suspect, but the story takes unexpected and unsatisfying turns that may leave viewers somewhat dissatisfied.
REPTILE: Star Performance
The only downside to having such a vast and exceptional ensemble in “Reptile” is that we don’t get to see all the actors as much as we’d like. Despite the film’s runtime extending beyond two hours, the story features numerous characters, and as is customary in a crime mystery, some make sporadic appearances due to crime-related plot elements.
One particularly delightful aspect of “Reptile” is the reunion of Benicio Del Toro and Alicia Silverstone, more than 25 years after he played her kidnapper in “Excess Baggage” (1997). In this gripping thriller, the two portray a married couple and exhibit remarkable on-screen chemistry. In fact, their seamless collaboration was a standout element of the film for me.
Observing this married couple, marked by respect and mutual understanding, was truly enjoyable. Within the narrative, they function as partners in all facets of life.
Several other pivotal roles are deftly portrayed by the consistently excellent Michael Pitt and Justin Timberlake. The latter has a substantial role and delivers a commendable performance. While I personally find his wife, Jessica Biel, to be a more captivating actor, Timberlake undeniably excels in this film. Although I can’t help but think that Jessica Biel would have been an excellent addition to this movie,
Among the actors I would have relished seeing more of in “Reptile” are Frances Fisher (“Awake”), Karl Glusman (“Watcher”), and Matilda Lutz (“Revenge”). The fact that they aren’t more prominent in the narrative doesn’t detract from the overall experience. They each embody intriguing characters, and I find pleasure in witnessing their performances in any project they undertake.
Final Words
The role of sound design is undeniably important in heightening the dramatic tension of the film, yet regrettably, it falters when it should be excellent, ultimately resulting in a satisfactory film despite the effective use of sound cues and camera angles. Fails to deliver the climax.
“Reptile” had the potential to be a strong crime thriller. However, it wastes valuable screen time on an extended buildup, culminating in a hasty conclusion to the narrative. As a result, it leaves loose threads dangling and character relationships woefully underdeveloped. Even Benicio del Toro’s unwavering performance can’t save the film from its prevailing sense of bleakness.
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