Gonna try something new with this review. I’m writing this on my nifty new phone while sitting in the theater waiting for Pirates of the Caribbean: At World’s End to start…

Anyway, on to the review for Bug. I really knew very little about this film before seeing it. It was almost nothing like what I was expecting. I didn’t realize until watching the end credits that it was based on a stage play, and after learning that I suddenly realized that I should have noticed that while watching it. It is almost entirely set in one room (with just a couple scenes set outside the room). Unlike what the misleading trailer would make you think, this isn’t a horror film. It’s really a stark, fearless psychological thriller - one which kinda works. I find it hard to believe this movie will do well at the box office, as I think it’ll only connect with a small percentage of an audience. I’m kinda amazed that Lionsgate opened this one as wide as they did with a moderately large sized advertising campaign (perhaps they want to see if they can at least get a quick box office take on the first couple weekends to turn something of a profit).

Writing: The script is really quite simple. It references many real life events that it mirrors on a smaller scale (like Jonestown), and uses them to feed into its own paranoia. Paranoia is really what this movie ends up being about. That, and deep psychological trauma. One of the strengths of the script is that all the characters (of which there are few) are flawed and damaged, most of whom aren’t quite what they would seem.

Production: There’s not a heck of a lot to this production. The cinematography is solid and the sets are simplistic (but quite inventive later in the film when they need to be).

Cast: Ashley Judd and Michael Shannon are positively fearless and uninhibited on screen. There’s no shortage of physically and emotionally raw exposure for their characters, to be sure. Judd in particular goes the extra mile to have a very unflattering appearance through the film. Supporting performances are solid from Harry Connick, Jr and Lynn Collins.

Music: Like the movie itself, Brian Tyler’s score is very low key and subversive. It works well enough.