With the audience haunting a sad family through a spirit's POV, Steven Soderbergh's latest experiment is ultimately about the never-ending appeal of voyeurism.
Long live Steven Soderbergh, a filmmaker who resists any premature obituaries that the movies are a dying art form. Soderbergh rarely rests. He’s made 14 movies since he first teased retirement in 2010 and, over the course of his career, has helped boost two innovations: first, the indie revolution with 1989’s “sex, lies and videotape,” and then, the digital camera.
If you work at it, the conceit adds resonance. Isn’t it ironic, say, that the supernatural proves to be less scary than the mundane? The ghost isn’t as hostile as a mother who lets her daughter flounder, or as a husband who tiptoes off to call lawyers about a possible legal separation rather than communicate with his wife. One of the most ghastly scenes comes when Tyler giggles about a mean and unjustifiable prank he pulled off-screen on a fellow student.
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