‘Reminiscence’: a misconceived notion of noir

Above : Hugh Jackman stars in “Reminiscence.” (Photo/Warner Bros.)

Movie review : “Reminiscence,” written and directed by Lisa Joy, starring Hugh Jackman, Rebecca Ferguson, Thandiewe Newton, Cliff Curtis. Screening the theaters and on HBO Max.

Film noir has been around for the better part of a century, long before the French even came up with the term – “film noir” translating loosely into English as “dark film.” New Wave critics such as Truffaut, Chabrol and Godard loved the genre so much they created their own versions of it with films such as “400 Blows,” “Les Cousins” and, of course, “Breathless.”

Film noir doesn’t apply just to visuals, though. Yes, most classics of the genre, from “Out of the Past” to “Double Indemnity,” are rendered in black and white. But the themes that these films explore are arguably even more relevant, being either reactions to the economic travails of the Great Depression or the Earth-shaking turbulence caused by World War II – sometimes both at once.

Many of those themes involve doomed, disillusioned, terse-speaking anti-heroes being taken advantage of by scheming – similarly disillusioned – women. And the plot paths the characters take seldomly, if ever, end happily.

This style of filmmaking has endured, at least thematically, with changes made to reflect evolving social concerns. So maybe it’s no surprise that first-time feature filmmaker Lisa Joy has given us “Reminiscence,” her own attempt at film noir.

Joy, whose credits include writing stints on television series such as “Burn Notice” and “Westworld,” plus a single directing assignment on “Westworld,” both wrote and directed “Reminiscence” – though it might have been better had someone else helped with both.

First, let’s address the plot. Hugh Jackman stars as Nick Bannister, a kind of psychic private eye who runs a business involving memory. With his assistant Watts (played by Thandiwe Newton ), Nick helps his clients recall past experiences. He does this by immersing them in a kind of sensory-deprivation tank, attaching an electronics gismo to their head and then speaking to them in his smooth baritone, inviting them to go on “a journey through memory … all you have to do is follow my voice.”

Most of Nick’s clients are seeking to relive pleasant moments from their past. Occasionally, though, he works for law enforcement, checking the memories of criminals for clues to solve crimes. Speaking of the past, both Nick and Watts are veterans of a war that is barely referred to. The same goes for the film’s setting – a Miami of the near future whose streets seem to be as flooded as the canals of Venice.

Then, one day, she – and in noirs it’s almost always a she – walks in, and Nick’s life will never be same. As played by Swedish-born actress Rebecca Ferguson , she is a woman Nick comes to know as Mae. And he is swept away – so much so that, when she ups and disappears, he is left bereft. And consumed with the need to find her.

What happens then follows the standard noir plotline, though Joy makes it far more twisted than necessary, introducing us to a range of villains – each of whom takes a turn at pounding Nick senseless.

So, what works in “Reminiscence”? The production design, for one. The outdoor scenes, most of which are obviously computer-generated, make this version of Miami look like what a climate-change documentary is predicting will ultimately happen to all of South Florida.

For another, Newton: Since she broke into film some 30 years ago in the film “Flirting,” Newton has been a consistent screen presence. Her character here is a welcome variation on the traditional male side-kick, loyal to the end and capable of handling herself in a dangerous situation. Her only flaw: a forced love tie to Nick.

But then that’s emblematic of writer-director Joy’s failures overall: Her whole approach to film noir feels forced, from the characters played by Jackman and Ferguson being little more than cliches to the dialogue they spout that feels as overheated as … well, a smoking gat.

At one point Nick proclaims, “Memory is the boat that sails against its current.” At another he adds, “Memories are like perfume. Better in small doses.” At yet another, he describes the past as “a bead on the necklace of time.”

That’s not film noir. That’s film bore.

An edited version of this review was previously broadcast on Spokane Public Radio.