Lizie Gower
Occupation
Filmmaker
Birth Review
Bad
Jonathan Glazer's stylish debut Sexy Beast stood out for the uncharacteristically explosive and vicious performance the director coaxed out of stately Ben Kingsley. Evidence of any such energy all but escapes Birth, Glazer's anticipated follow-up to his kinetic gangster picture. A plodding and pretentious thriller, this beyond-the-grave affair ends up being too art-house for the mainstream crowd and too mainstream for the art-house crowd. Loosely translated, that means it doesn't work for anyone.
Birth hangs its hat on a delicate premise that demands kid gloves if it seriously hopes to sustain the already shaky credibility. An elegant transition of life forces starts the film. Physician Sean dies while jogging. Simultaneously, a baby is born. Fast forward 10 years, where a cave-eyed child coincidentally named Sean (Cameron Bright) claims to Upper West Side basket case Anna (Nicole Kidman) that he is her reincarnated ex-husband. Anna's humorless fiancée (Danny Huston) scoffs at the idea. Her mother (a neglected Lauren Bacall) displays indifference. ("I never liked Sean, anyway," she articulates.) But Anna's not so quick to write the boy off.
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