After a car crash, criminal psychologist Dr. Miranda Grey regains consciousness only to find that she's a patient in the same mental institution that currently employs her. She's been accused of murdering her husband Dr. Douglas Grey — but she has no memory of committing the crime. As she tries to regain her memory and convince her co-worker, Dr. Pete Graham, of her innocence, a vengeful spirit uses her as an earthly pawn, which further convinces everyone of her guilt.
Gothika was roundly panned by most critics, who found its screenplay a cynical pile-up of horror and thriller clichés held together by neither logic nor coherent atmosphere. Halle Berry's performance drew some sympathy, but even admirers like Roger Ebert treated the film as a guilty pleasure rather than a serious achievement — and most critics didn't go that far.
“ghost-story clichés collide with the serial-killer clichés, and the women-behind-bars clichés give way to the wronged-women-seeking revenge clichés, the movie proves to be both too much and not enough: yet another slick, empty package of ersatz entertainment.”
A. O. Scott·The New York Times
“Sebastian Gutierrez's over-cooked screenplay provides director Kassovitz with more than enough trope to hang himself, serving up every cliche from endless thunderstorms and creepy asylums to flickering strip-lights and that 'spooky' backwards sound effect that no hackneyed horror these days is ever without, before applying the tin lid with a 'twist' ending more carefully signposted than wet floors in an orthopaedic ward.”
Adam Smith·Empire
“The casting of Halle Berry is useful to the movie because she evokes a vulnerable quality that triggers our concern. Hitchcock might have wanted to work with her. He didn't cast so much for acting ability as for an innate quality.”
Roger Ebert·The Chicago Sun-Times
Horror, Thriller, Mystery
After a car crash, criminal psychologist Dr. Miranda Grey regains consciousness only to find that she's a patient in the same mental institution that currently employs her. She's been accused of murdering her husband Dr. Douglas Grey — but she has no memory of committing the crime. As she tries to regain her memory and convince her co-worker, Dr. Pete Graham, of her innocence, a vengeful spirit uses her as an earthly pawn, which further convinces everyone of her guilt.
Gothika was roundly panned by most critics, who found its screenplay a cynical pile-up of horror and thriller clichés held together by neither logic nor coherent atmosphere. Halle Berry's performance drew some sympathy, but even admirers like Roger Ebert treated the film as a guilty pleasure rather than a serious achievement — and most critics didn't go that far.
“ghost-story clichés collide with the serial-killer clichés, and the women-behind-bars clichés give way to the wronged-women-seeking revenge clichés, the movie proves to be both too much and not enough: yet another slick, empty package of ersatz entertainment.”
A. O. Scott·The New York Times
“Sebastian Gutierrez's over-cooked screenplay provides director Kassovitz with more than enough trope to hang himself, serving up every cliche from endless thunderstorms and creepy asylums to flickering strip-lights and that 'spooky' backwards sound effect that no hackneyed horror these days is ever without, before applying the tin lid with a 'twist' ending more carefully signposted than wet floors in an orthopaedic ward.”
Adam Smith·Empire
“The casting of Halle Berry is useful to the movie because she evokes a vulnerable quality that triggers our concern. Hitchcock might have wanted to work with her. He didn't cast so much for acting ability as for an innate quality.”
Roger Ebert·The Chicago Sun-Times
Horror, Thriller, Mystery