By Calum Marsh
By Michelle Orange
By Michael Atkinson
By Simon Abrams
By Zachary Wigon
By Aaron Hillis
By Casey Burchby
By Stephanie Zacharek
Robert De Niros alarm must have finally gone offin Stone, the actor seems more awake than he has been in years. De Niro is Jack, a prison corrections officer who, abandoning all professional and common sense, foolishly screws himself by screwing Lucetta (Milla Jovovich), the wife of the corn-rowed arsonist inmate Stone (Edward Norton), whose parole case he must soon rule upon. Jacks failing is nominally one of the flesh, yet its spiritual and moral deep-rot that truly plagues him, with AM-dial Christian radio blather providing an incessant backdrop for both Jack and Stones dual quests for deliverance. Director John Currans sure hand is most evident in pre-credit intro passages that create unnerving dissonance from jumps between locations, time periods, and incidents, as well as in an atonal soundscape of undulating chimes, drones, and overly symbolic bee buzzes. However, despite a restrained, internalized performance by De Niro that refuses to turn Jack into an aged version of Cape Fears Max Cady, as well as Norton taking a hoary, rough-neck caricature and infusing him with unexpected blissed-out tranquility, the B-movie-tawdry and unpersuasive plotting undercuts the materials sober concerns about sin and salvation. At odds with its own lofty and base instincts, Stone ultimately channels neither compellingly.
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