Who’d have thought ninety minutes of Ryan Reynolds buried in a small wooden box would make for a clever and exciting thriller? Surprisingly this simple set up proves to be very effective. Running the gamut of darkly funny to claustrophobic, this kidnap drama builds up tension in both plausible and ridiculous ways. Highlighting the talent and inventiveness of all involved, Buried is griping and entertaining, making it perfect cinema viewing.
At the start of the film Paul Conroy (Reynolds), an American civilian truck driver working in Iraq, wakes up in a wooden coffin, buried underground. Not knowing who put him there, or why, and unaware of his location Paul’s chances of survival diminish with every breath he takes. At his disposal he has a mobile, a penknife, a pencil and an assortment of portable light sources- will he escape?
The film never ascends above the ground, showing the action from Paul’s POV throughout. Though this was probably as much an economic decision as an artistic one, it is still a brave choice- which has added to the atmosphere and power of the film. Both the audience and Paul are kept in the dark as to what is happening on ground level. Despite the role being contained, Reynolds’ physicality needs to be commended. Oscillating from sardonic wit to panic, anger to despair- Reynolds’ performance is probably his best to date.
With the stakes in this film ever increasing, the director Rodrigo Cortés builds suspense by setting up red herrings and distractions. The film introduces other voices to the story through Paul’s phone conversations. Paul’s efforts to get himself rescued highlight the darkly corrupt world of contractors in Iraq, amongst other problems with America’s involvement in that region. Handled without much subtlety the ‘political’ aspects of the script are probably the film’s weakest part, and the least original. However the film’s astute play on modern communication and accessibility is razorsharp-smart- never has a film better shown the terror of being put on hold.
Cinematographer Eduard Grau, whose previous work includes the sumptuous A Single Man(2009) does an amazing job making this film visually engaging. A range of light sources – flame, torch and light sticks- creates unique shadows and colours inside the coffin. The use of interesting shooting angles enhances Reynolds’ performance- framing his face as the focal point for the film’s action.
Buried is an example of a good idea (from scriptwriter Chris Sparling), well-planned and well executed. This film shows that massive pyrotechnics and expensive special effects aren’t necessary for a successful thriller. A tight script, inventive filmmaking and a good performance are enough.
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First published on Trespass
