The Immaculate Room, a horrific psychological drama/thriller from filmmaker mukunda Michael Dewil, opens with Mike (Emile Hirsch) and Kate (Kate Bosworth) entering a large, well-lit room to claim five million dollars. Their worlds will be flipped upside down if they can survive 50 days in this spotless chamber, cut off from the outside world with no phones, relatives, or activities to keep them occupied. What starts off as an intriguing examination of mental fortitude and the chase of success gradually deteriorates into a script that isn't fully developed and doesn't live up to its potential. The Immaculate Room only achieves enough to keep viewers intrigued; nonetheless, it falls short of its claims of mystery and in-depth analysis.

Kate and Mike's dilemma is made worse by the room's stark white walls and high ceiling, which are reminiscent of an enlarged hospital ward with few sounds and diversions to keep even a minimalist entertained. One of Dewil's strongest elements is the set design, which blatantly fosters a setting of insanity and inner turmoil. Although Dewil's script has a strong base, there isn't much more that keeps it together. It's hard to comprehend how an intriguing subject could dramatically deteriorate in both fun and quality. With deceit and cruelty, this narrative tests the characters' mental stamina by subjecting them to 50 days of total boredom.

Through the examination of its characters and their own paths towards success or failure, this story deserved to be completely realised. However, screenwriter and director Dewil never devotes enough time to the characters, as called for by the script. Hirsch's Mike is the ebullient artist who turns to his art as a means of getting over a family tragedy that has hampered his development as an illustration, a partner, and a person. He is tested to the maximum during The Immaculate Room, teetering on the precipice of sanity when even the tiniest shock of a painful memory awakens his dormant dark past. The introduction of Mike as a person in Dewil's script, at least outside of his relationship with Kate, ends there.

The Immaculate Room had all the ingredients for success: a fantastic ensemble, a stunning set design, and the kind of provocative concept that makes moviegoers want to put themselves in the role. Hirsch and Bosworth are occasionally forced to overperform because the writing lacks any creativity in terms of extending the idea of human resilience. This is about as disappointing as it gets for a movie with such promise and potential, with weakly written characters and a narrative limited to moments only serving to drive Mike and Kate to the brink of insanity.
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G GOWTHAM

24/08/2022 11:09 AM