THE TIE THAT BINDS
A film review by James Berardinelli
Copyright 1995 James Berardinelli
RATING (0 TO 10): 3.5
United States, 1995 U.S. Availability: 9/8/95 (wide) Running Length: 1:39 MPAA Classification: R (Violence, profanity, brief nudity, sex) Theatrical Aspect Ratio: 1.85:1
Cast: Vincent Spano, Moira Kelly, Julia Devin, Keith Carradine, Daryl Hannah Director: Wesley Strick Screenplay: Michael Auerbach Cinematography: Bobby Bukowski Music: Graeme Revell U.S. Distributor: Hollywood Pictures
Ever wonder what makes mediocre thrillers like MALICE and BASIC INSTINCT entertaining? Perhaps it has something to do with watching dozens of awful mass market entries into the genre, then hoping for something just a little better. Take THE TIE THAT BINDS, for example--something scraped off the bottom of the barrel. Nearly every print and television ad compares this film to 1992's THE HAND THAT ROCKS THE CRADLE. As far as I'm concerned, the comparison is valid. Both are inept, hard-to-swallow flicks that offer more in the way of cheap shocks than legitimate scares. For writer-turned-director Wesley Strick, this is not an auspicious debut.
The characters and plot situations are harvested from stock. There's the happy couple, Russell and Dana Clifton, played with bland sincerity--and not a whole lot of energy--by Vincent Spano and Moira Kelly. Then there's the psychotic pair, John and Leann Netherwood, essayed with over-the-top insincerity--and far too much energy--by Keith Carradine and Daryl Hannah. The Netherwoods, who spend most of their waking hours robbing houses and killing people, have a six-year old little girl named Janie (Julia Devin). When one of their capers go bad, she's captured by the authorities and placed in an orphanage. Days later, along come the Cliftons, eager to adopt. Janie's smile wins Dana over, and the three become a family. The only problem is that John and Leann want their daughter back, and they leave a trail of bodies behind them in an attempt to fulfill that aim.
One of the reasons THE TIE THAT BINDS doesn't work is that it's boring--not a good sign for a picture that's supposed to keep viewers on the edge of their seats. I suppose the various random killings are designed to spice things up, but when there's no discernable character depth or development beyond the obvious, an audience tends not to identify with or care about the protagonists or antagonists. The first hour is flabby and meandering, and when the rousing, by-the-numbers climax finally arrives, it comes too late.
Strick shows his inexperience with a grating tendency towards obviousness--moments of subtlety are few. Granted, he doesn't have a great script to work with, but he fails to build on what potential exists. There's more lethargy than tension, and it's too easy to guess the ending ahead of time (like right after the opening credits). Plus, apparently thrown in for good measure is the oldest thriller cliche: the ubiquitous car that won't start. Had Strick presented this scene tongue-in-cheek, it might have been worth a chuckle, but the whole thing is played distressingly straight.
THE TIE THAT BINDS has far more to offer on the subject of what it takes to be a real parent than what to do when a couple of psychos come calling. There are some early, "family" scenes with Spano, Kelly, and Devin that are handled relatively well, but the contrivances of the plot don't allow them to last for long. Given the lack of an intelligent script or any "big name" stars, it seems unlikely that audiences will flock to this feature, but that's a chancy prediction. Regardless of box office take, however, at least this film opened at the right time of the year--it's about as unremarkable as most of its companion late-summer releases.
- James Berardinelli (jberardinell@delphi.com)
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