The Portrait Review- Great Concept And Performances Elevate A Fun Ghost Story Unlike Any You Have Seen Before

Like a painting of pain and grief, The Portrait asks and almost answers some uncomfortable questions. Is art appreciation truly in the eye of the beholder, or is there something more meaningful at play? Does art find its audience, or does the appreciator find the art? Do loved ones who are thrust into caregiving roles suffer right along with their sickly partners? The Portrait borrows from some great ghost stories and films like Dorian Gray, Occulus, and Sinister, but with one significant difference. The final reveal swerves at the last minute and, for better or worse, delivers something wholly unexpected.

Alex, Ryan Kwanten, far removed from his days on True Blood as the daffy and deliciously handsome Jason Stackhouse, was a brilliant tech wizard before a tragic car accident left him nearly catatonic. It’s been nearly a year since the accident, and his wife Sofia, Natalia Cordova-Buckley from Agents of S.H.I.E.L.D. and Mosquito Coast is desperate to help her husband get back even a glimmer of his old self. Desperate to help him heal, she brings him to his childhood estate and finds that sometimes you shouldn’t go home again.

Once there, things begin to unravel almost immediately. Alex is nearly catatonic, and Sofia is obviously overwhelmed and deeply saddened by her husband’s accident. Making things worse, she finds an odd painting in the attic that looks exactly like Alex from 1937. She is then told a ghost story by Cousin Mags, a wonderfully creepy Virginia Madsen who reveals a twisted family history of violence and death. The story borders on the fantastical and is easily ignored. That is until Mags’ live-in companion comes by with news clippings proving at least a few murders did occur. Unfortunately, strange occurrences in the house and Alex’s erratic behavior escalate, leading Sofia to wonder if she is losing her mind.

Kwanten, as Alex, is spectacular, with hardly any dialogue to inform his emotions or motives. Mostly communicating his frustrations through outbursts of physical violence, furrowed brows, and sorrowful eyes. He is very good, gliding around like a ghost, barely there yet simmering with rage. Cordova-Buckley is equally good, showcasing quiet strength in the face of a terrible situation. She is a complex character who unpacks her grief throughout The Portrait. She presents herself as a strong and loyal caregiver; however, she is more than just what she presents. Like the painting that looks exactly like her husband but can’t possibly be, Sofia is an enigma.

Madsen is a welcome presence and does enigmatic weirdness well. She has the same groundedness and gravity she first brought to the original Candyman. Rounding out the cast is Found’s Mark-Paul Gosselaar as Brooks, the caretaker of the estate. He has developed as an actor into something more than the affable boy next door. His role is limited, but he chews scenery with the best of them. His storyline is one of the parts that could have used expansion.

There are several moments that could have been fleshed out better. A series of newspaper clippings weaves a disturbing family picture and a loose thread of a psychic left me wondering if the story concept changed mid-production. It’s a minor complaint, as the final twist is surprising enough to make me almost forget where I thought things were going.

Writer David Griffiths clearly has some good ideas. Unfortunately, he has too many of them for one movie. His script could have used some editing to make a more cohesive conclusion. The concept of the painting and what it really represents is intriguing. Some of the other plot beats were frustratingly left open-ended. Director Simon Ross has a deft eye for capturing the gorgeous house in all its strange grandeur, and he lingers on his performers’ faces in ways that let them shine. Cinematographer Luke Hanlein’s ascetic is stunning and steady, dancing provocatively between light and dark.

The Portrait is an interesting movie with a good idea that is hampered by too many ideas and insufficient focus. However, The general conceit is intriguing enough, and the performances are good enough that most of that is forgiven. The film isn’t perfect, but it is certainly worth a watch. The ending is sure to leave you wondering what really happened.