Grant Singer, known for his music video prowess, takes a stumble rather than a leap into the realm of cinematic features with “Reptile.” The expectation for a music video director transitioning to movies is often an injection of experimentalism, pushing the boundaries of narrative storytelling. However, Singer’s foray into the cinematic world seems more like a timid tiptoe than a bold step forward.
Singer’s music video background is evident in the film, but not in a groundbreaking way. Instead of pushing the boundaries of imagery and editing, “Reptile” serves as little more than a platform for the pop stars who have frequented Singer’s music videos. The visual style is reminiscent of Instagram-filtered framing, lacking the depth and innovation needed for a feature-length thriller.
The film’s narrative revolves around Will Grady, played by Justin Timberlake, a real estate professional grappling with intimacy issues in his personal life. The discovery of his fiancée’s mangled corpse sets the stage for a generic thriller plot. The potential suspects include a controlling mother, an ex-husband with a haunted demeanor, and a seemingly unrelated psychopath.
Benicio del Toro, who also coauthored the screenplay, portrays Detective Tom Nichols. Tom is a lifer in the police force, navigating a case that intertwines with tensions back at headquarters. While the film attempts to create suspense by connecting these two strands, the predictability of the plot leaves little room for genuine surprise. Singer’s handling of clues lacks the cunning needed to elevate the film beyond a standard investigation.
The film’s pacing is dirgelike, dragging out a naive critique of police corruption. The central theme seems to be the tired notion that some cops are bad, and thankfully, there are good ones to hold them accountable. Tom Nichols, the detective at the film’s core, fails to distinguish himself, lacking unique qualities aside from his muted delight at a touchless, wave-activated faucet head.
The potential for a noir-ish exploration of the materialism within the police force, a blue-collar profession with white-collar wages, remains unexplored. The film could have hinged on the idea of a descent into the depravity of greed. Unfortunately, it becomes just another day on the job for Tom Nichols, feeling more like a lackluster sequel to an uninspiring character introduction.
In essence, “Reptile” fails to deliver on the promise of a music video director’s transition to cinematic features. The experimentalism that could have injected life into the film is conspicuously absent, leaving audiences with a forgettable and formulaic thriller. Grant Singer’s attempt at a cinematic leap falls short, making “Reptile” an unremarkable addition to the world of feature films.
