Blindsided

Blindsided follows sightless photojournalist Sara (Michelle Monaghan) as she’s terrorized by a couple of low-level thugs (Barry Sloane’s Chad and Michael Keaton’s Hollander) in her expansive apartment, with the film, for the most part, detailing the battle of wills that inevitably ensues between all three characters. It’s a well-worn, familiar premise that’s generally employed to better-than-expected effect by filmmaker Joseph Ruben, as the movie, for the most part, remains quite watchable despite the presence of several dodgy elements – including Sloane’s beyond bland performance and an overuse of almost comically low-rent special effects (ie worst use of green screen ever). Ruben’s steady directorial hand ensures that the film moves briskly and contains a few well-placed jolts, although it’s ultimately clear that Blindsided‘s most potent weapon is Keaton’s typically engrossing turn as the central villain – with the actor’s scenery-chewing work elevating the decidedly ho-hum material on an all-too-regular basis. It’s clear that the narrative isn’t quite dense enough to sustain a full-length running time, however, and the protagonist’s increasingly confounding behavior (ie why doesn’t she just cooperate?) makes it more and more difficult to actively root for her victory over the invaders. The somewhat anticlimactic finish confirms Blindsided‘s place as a passable yet far-from-memorable thriller, which is kind of disappointing, to be sure, given the paucity of such movies within the contemporary cinematic landscape.

**1/2 out of ****