Following an accident that left the husband damaged, a couple goes to a lavish home to regroup and heal. Once there, a portrait mysteriously looking like the husband haunts them.
Written by David Griffiths and directed by Simon Ross, The Portrait has some good ideas, but the execution is bland as can be. The film has some good scenes, but they are few and far between, leaving the viewer to not care and quickly lose their interest in the film. The fact that the story is lacking and the direction lackluster, it will be hard for viewers to keep paying attention. The location is interesting though and the portraits on walls of the seemingly chateau are stunning, with some creepy elements to them, especially the one who looks like the husband of the lead, but it’s not enough. A lack of dialog in parts is ok sometimes, but here, it feels like not much is happening and not much is said, leaving the viewer to watch something that feels empty and like it has no bite.
The cast here is actually decent though, when given something to do. The lack of everything as mentioned above leads them to not have all that much to do, but they clearly had some ideas as to who they were supposed to be and how they were supposed to act. Ryan Kwanten plays the psychologically damaged quite well, giving a limited, but effective range here without saying much of anything. His work is what kept this viewer watching. Playing his character’s wife is Natalia Cordova-Buckley who feels like she’s lost for most of the film’s run time. This may be on purpose, but it doesn’t always feel like so. Her performance here could have used more emotions, more emoting. Randomly popping up is Virginia Madsen as Mags and she is a welcome surprise whenever she does, adding some pep to the film and a bit more life to the proceedings. Playing Brookes, the grounds keeper of sorts, is Mark-Paul Gosselaar who is ok here. But here’s the thing, ok is what most people are giving here and it’s just not enough. Except for Madsen who is more than enough, maybe a bit much when compared with the others, but it’s a very welcome “bit much”.
The film’s look here is mostly dark and gloomy, but the cinematography by Luke Hanlein is pretty and it mostly works with the darkness inside to large home. The film looks pretty, even if at times, the darkness makes one want them to turn on some lights and show us what is happening more clearly. The outside sequences are easier to see what’s happening and give a better view on Hanlein’s work here, showing the care in framing and shooting this film.
Unfortunately, The Portrait is a film that comes off bland and like something that could have used a bit more something. The film feels like it’s a start of something, but with unfinished ideas and direction that is just content with being just there. But just there is not enough to keep the attention and it’s not enough to make a great film or a memorable one. Because of all of this, the film is one that is mostly forgotten as soon as the credits roll.