Justin Kelly's film stars the "Clueless" star as an executive whose flirtation with working-class heartthrob Karl Glusman spirals out of control.
The attraction proves problematic, if not fatal, in "Pretty Thing." Those who missed the gripping climax of the "erotic thriller" defined by "9 1/2 Weeks," "Basic Instinct," and so on, may find some nostalgic pleasure in this inventive, if more modest, adventure, starring Alicia Silverstone as a middle-aged businesswoman who hooks up with the handsome, young Karl Glusman, only to discover she's met an obsessive stalker.
Director: Justin Kelly
Writer: Jack Donnelly
Stars: Karl Glusman, Alicia Silverstone, Catherine Curtin
Director Justin Kelly ("I Am Michael," "JT Leroy") and actor-turned-writer Jack Donnelly do a good job of presenting the film, smoothing out narrative clichés and delivering middling, relatively uncheesy sensuality in an engaging widescreen production. But the suspense mechanics never really gain traction, and despite solid performances, the script lacks the depth to function as a serious character drama. So this "Thing" ends up being forgettable, with that fate sealed by a weak final fade-out. Still, it's an entertaining enough way to spend some 90 minutes.
At a sort of reception at a luxury Manhattan hotel, guest Sophie (Silverstone) crosses paths with waiter Elliot (Glusman), creating an immediate mutual chill. Soon, many other body parts are communicating as well. Although the waiter's wide-eyed admission, "I can't say I've done anything like this before," makes him a bumbling Benjamin Braddock stand-in for her assertive Mrs. Robinson, he apparently has a natural flair. So much so that she impulsively invites him on a work trip to Paris, where he can see the sights while she's busy with meetings. The rest of the time, of course, they're... well, busy with each other. It's a thrilling experience for Elliot, whose life so far hasn't gone much beyond odd jobs and the needs of his understanding but dependent, disabled mother (Catherine Curtin), with whom he still lives.
When he later insists on asking Sophie out as a thank you, her bored expression makes it clear that his choice of entertainment, bars, and friends are strictly amateurish by her executive standards. However dynamic their sexual chemistry may be, they otherwise have virtually nothing in common. In any case, she's not looking for a relationship; she's happily "married" to her career, designing marketing campaigns for multinational pharmaceutical companies. Once it becomes clear that Elliot, besotted, can't accept that theirs is just a fling, she sends him a polite but firm goodbye message, thanking him for the memories.
He doesn't take it well. At this point, one might expect "Pretty Thing" to follow the usual paths of psychotic revenge and jilted love. But there's no talk of rabbits here, and Donnelly seems reluctant to descend into melodrama, while failing to provide the psychological details necessary to elevate this story above the usual genre expectations.
We understand Sophie quite well thanks to Silverstone's masterful performance: she's a woman with a healthy sexual appetite whose other needs are met in the professional sphere, where she comes across as decisive and authoritative. Meanwhile, Elliot remains an understated figure, a child whose widely displayed abs define his character better than he is. Glusman is perfectly fine, but the script leaves this character too naive to be threatening or believable when Elliot somehow manages to bypass Sophie's protective barriers. (How he eventually sneaks into her high-security apartment is never explained.) The dialogue rarely contributes to deepening our understanding of the dramatic characters, which emerge primarily in the heroine's interactions with other women: notably, Tammy Blanchard in one scene as Sophie's sister, and Britne Oldford in another as an acquaintance of Elliot's whom he consults for advice.
The tension mounts as the retaliations between the two sex buddies-turned-combatants become more antagonistic. Still, the film fails to generate much tension, and its pacing remains sluggish from beginning to end. There is a fundamental idea here: as Sophie (who trains in boxing at a gym) becomes more physically violent after rejecting an unwanted suitor, Elliot realizes he is a budding masochist, captivated by this punitive treatment. But this is too underdeveloped to carry much weight, let alone serve as the basis for an ending. In fact, the final score seems so misguided that it diminishes the overall picture.
However, until that disappointment, "Pretty Thing" is reasonably enjoyable and elegant, within its likely limited resources. Matthew Klammer's cinematography and the chosen locations convey the kind of elegance that could captivate an average Joe like Elliot, especially in the initial Parisian segment. Tim Kvasnosky's original score offers a wordless vocal element reminiscent of the elegant European soundtracks of the 1960s. The sex scenes also display a blend of passion and restraint (there's virtually no nudity) that feels more elegant than scurrilous chatter.
Shout! Studios releases "Pretty Thing" in US theaters and on-demand platforms with a limited audience on July 4.
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