Close is an Okay Action-Thriller that Doesn’t Stand up to Much Scrutiny
Major Spoilers Ahead.
Imagine you’re trying to cook something new. Maybe you’re bored of the same old meat and three vege and the takeaways are ruining your wallet. You fancy yourself a good cook, so you spend an afternoon looking up recipes and find one you think you can tackle. You buy the ingredients, you follow the instructions, but maybe you skip a few steps here and there. It’s okay, surely you can wing it a little, after all you’ve been cooking for a while now, you can cut the strings a little. You take the dish out of the oven and plate it up. It looks beautiful. Your mouth waters at the thought of biting into this succulent bit of meat that you’ve just prepared with your own hands. You take bite, and the inside is raw. You haven’t cooked it for long enough and now your experience is ruined.
That’s kinda what it’s like watching a Netflix Original film.
Close isn’t all that different. Starring Noomi Rapace (Girl with the Dragon Tattoo, Prometheus) as Sam, a bodyguard with a mysterious past and Sophie Nelisse (The Book Thief) as Zoe Tanner, the heiress to a company fortune. After the death of Zoe’s father, Sam is hired by her stepmother Rima (Indira Varma) to escort Zoe to a safehouse in Morocco while the company goes through a massive land deal. Things go wrong and somebody attempts to kidnap Zoe, leading to the two becoming fugitives and being chased by corrupt cops all across Casablanca. I’m a terrible judge of acting ability, so I’m not going to comment on that too much, but Noomi Rapace outshines her co-star on this front. The action is fine, if a little too heavy on the deus ex machina at times. Overall the film does a good job of keeping you interested throughout. I even found myself on the edge of my seat in some scenes, but the film has a glaring issue that doesn’t really pop up until you’re done with it and you get some time to mull it all over.
The twist at the end of the film doesn’t make any sense. Close goes to great pains to paint the stepmother as the obvious villain, only to switch it up near the end, where we find out that the whole thing was orchestrated by a rival company to… well this is exactly the problem with this film. The plot only makes sense if the stepmother is behind the whole thing. Zoe’s father has left half the business, the controlling half, to Zoe. The stepmother is unhappy about this. Staging a kidnapping and murder makes sense as she would be next in line. The villain, the true villain, lacks any sort of actual motivation. During the film, Zoe kills a cop and becomes a fugitive and this causes the stock of her company to plummet. But the rival company couldn’t have planned this. Maybe their initial plan was to hold Zoe to ransom, but that can’t possibly be a good plan. As soon as the rival company ties itself to her kidnapping the plan falls apart. I think the biggest problem is that Close tries so hard to paint Rima as a bad person that it becomes very hard to believe when she’s suddenly revealed to be good. All of her interactions with Zoe are ones of scorn. There’s no subtlety about it. There’s no underlying hints that she actually cares. She’s evil stepmother until she isn’t, and it makes no goddamn sense. And in my opinion, the film would’ve been better if they’d just gone with it. The evil stepmother caught in the act, maybe the whole company goes down because of it. Zoe’s left with nothing, but it doesn’t matter because she found the mother she lost in Sam. I know that the evil stepmother routine is old and tired, but not everything needs a twist. A movie can be solid without trying so hard to be more than it is. Not every film has to be profound or mind blowing. It is absolutely possible for a film that plays the tropes straight to be good, and this one could’ve been.
Closing statement: It’s okay if you don’t think too hard about it.