The 9th Life of Louis Drax

2016

Mystery / Thriller

Synopsis


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January 27, 2017 at 04:23 AM

Director

Cast

Jamie Dornan as Dr. Allan Pascal
Aaron Paul as Peter
Sarah Gadon as Natalie
Oliver Platt as Dr. Perez
720p 1080p
791.65 MB
1280*720
English
R
23.976 fps
1hr 48 min
P/S 48 / 463
1.64 GB
1920*1080
English
R
23.976 fps
1hr 48 min
P/S 40 / 348

Movie Reviews

Reviewed by phd_travel 9 / 10

Haunting beautiful satisfying story

Don't let the strange title put you off. I liked the story of this mystery drama romance thriller. Things come together and there are no red herrings. As layers are peeled away the truth is revealed to be very different from what the first appearances were. And the ending is satisfying too with a feel good conclusion and an good message about beauty and goodness. There is enough "magic" to make this creative but not outrageous - like in "The Age of Adaline". An accident prone child falls off a cliff and is in a coma. His father is missing. His beautiful mother is played by Sarah Gardon. A doctor (Jamie Dornan) gets involved in his care. Although you can guess the truth about 2/3 through, it's enjoyable to see things unfold. It's not always about a last minute reveal. There is an element of Hitchcock here in tone and setting - Vertigo comes to mind with the beautiful blonde with a hint of mystery and the San Francisco location. Although it seems that the aerial shots of SF and the Golden Gate bridge were mixed with not actual on location filming. Sarah Gadon is so lovely she is perfect for the role. You can believe men will throw away everything for her. She is such a good actress too and so versatile from playing QE2 to damaged goods in this year's Indignation. Jamie Dornan as the doctor who is letting his Johnson make his decisions is good at acting in lust. It's a bit similar to 50 Shades but a better story. Aaron Paul has a pivotal supporting role as the father Peter Drax. And he is good especially when things are revealed. The young boy has lots of good lines and succeeds in not being annoying as some other child actors can be.

Reviewed by A_Different_Drummer 7 / 10

"Being in a coma doesn't suck" (dialog, Louis)

This movie has a lot in common with those crazy weekends where you go off to a remote location with a group, under the supervision of a sort of modern drill sergeant, and then see if you can survive the dangers of the wild. If you do, then Monday morning you are a better person for it. At least in theory.

So it is when you enter the theatre to watch this film. No matter what your preferred "film pallet" may be, this work will test it to the max.

The story is .... odd. The opening, which has a cutesy first person narrative of the kind you expect to find in films like THE LITTLE PRINCE is ... odd. The narrative exposition, which uses a sort of undefined, almost magical, interface is ... odd.

In fact the whole film, which starts as a heart-warming tale and ends in a cross between Hitchcock and pure horror is ... odd.

I checked out the film because it is one of the few works from Alexandre Aja, a director considered a genius by his many fans and a time-waster by his many detractors. This film is not going to please either group.

This odd story of an accident-prone boy also violates many of the rules of conventional film-making and seems to go out of its way to make the viewer uncomfortable and even downright squirmy.

After all that "endurance testing" you would expect a big payoff, but all you get is a small one. A very small one.

And when it comes to payoffs, size does matter.

The brightest spots in the movie are Aaron Paul, an actor whom -- as I commented in an earlier review for the IMDb -- is becoming the closest thing modern audiences have to a Jimmy Stewart. Essentially the only person in a movie you immediately want to trust.

And the always reliable Molly Parker (Deadwood) who, like Paul, gives a viewer a place to "go to ground" during the ordeal that this film has become.

Reviewed by Pjtaylor-96-138044 7 / 10

A unique, interesting and subversive amalgamation of genres that suffers from some narrative issues and tonal fluctuations.

'The 9th Life Of Louis Drax' is the latest film directed by Alexandre Aja, who is most known for his 'The Hills Have Eyes' remake and the recent Daniel Radcliffe vehicle 'Horns'. This movie is fairly hard to describe, as it is a mixture of several genres that features a few twists and turns that I don't want to spoil. The basics of the plot revolves around the eponymous Louis Drax, a nine year-old boy who suffers a near-fatal fall and is left in a coma, and the doctor assigned to his case. I really liked it, despite the fact that it is flawed and by no means perfect, so I can't understand the relatively negative critical reception; I found it to be unique, subversive, interesting and emotionally-powerful.

The flick does wildly fluctuate in tone throughout its run-time, a flaw which does lend it some unpredictability and therefore can sometimes work to its advantage. One moment it is light and comedic, the next it is dark and gloomy; it is at times a comedy, a quirky indie-film, a family drama, a surrealist fantasy, a mystery 'whodunit', a more traditional horror and a psychological thriller. I found this amalgamation of genres to be intriguing, as I was never quite sure where the story was going to go. I also mostly appreciated the tonal shifts which, aside from sometimes feeling clumsy and out-of-place, made for a subversive yet cohesive piece that was much more unique than it may first have seemed. What doesn't work to the film's advantage however, is its constant changes in perspective. These were often jarring and felt undisciplined; it is hard to determine who the protagonist is, Louis Drax or Doctor Pascal. The fact that the story flipped between their two perspectives is fine, but the execution is fumbling and chaotic at best – the two aren't split equally, and thus it begins to seem out-of-place when the swap happens. In the same vein, some of the surreal elements bleed a little too closely into the portrayed reality – it is sometimes unclear what is fantastical and what is real. This is isn't a huge issue, and it often works to the flick's advantage, but can feel inconsistent in its portrayal and almost 'cheats' the audience at points.

The final act relies on a central conceit that requires quite a big leap in logic, leading to an aftertaste of mild confusion. I understand where they were coming from, a number of little details earlier in the picture attempted to establish it, but it isn't set up properly and becomes a little unbelievable. In the moment it works though and I thought it was a nice way of cleaning things up, I just wish they had planted the seed for it better so that it is easier to get on-board with. The actual conclusion feels a little flat in places, too, with some specific revelations not having the impact they should; these plot-lines could've done with a little extra moment to compound and punctuate them properly. Other than those issues, I found all of the twists and turns to work well; some of them were more expected than others, but all of them felt plausible and earned. The film does a good job of making sense to both a first and second time viewer, with scenes showing just enough to perpetuate the 'red herrings' the first time but still remain competent the second once the whole picture has been revealed. By the time the final act rolled around, I'll admit I was gripped and on the edge of my seat – I truly wanted to know what was going to happen. When the revelations are made, I thought that they were mostly satisfying and appropriately surprising – aside from the couple of issues with the consequences not being 'driven home' fully.

The performances are all good, though Jamie Dornan's character can sometimes be quite boring and is played very by-the-numbers. Oliver Platt, Sarah Gadon and Aiden Longworth are all notably great too, while Aaron Paul is downright fantastic in a complex role. A scene towards the end of the flick nearly brought me to tears, it was incredibly emotional and helped by Paul's perfect performance. It really affected me, more so than expected, and I cannot give the movie enough praise for tugging at my heart-strings – a rare feat for a film. The writing is mostly decent, though there are some obviously bad lines – both in their construction, repetition and generic nature – as well as the occasional exposition dump and leap in logic. The direction was superb, a number of unique shots helped to add to the flick's quirky nature. The feature is framed cleanly, the edits are smooth and the blocking varies healthily. The fantastical elements are handled very well, with practical and digital effects being used in tandem, and the pacing was pretty taut– though it feels a little longer than it should on the whole.

Overall, I think 'The 9th Life Of Louis Drax' is an entertaining and well-made film. It's subversive, surprising, engaging, interesting, emotionally-powerful, unique and fun; it also has some great performances. It does suffer from occasional tonal and structural issues, narrative leaps in logic and some weak writing, but I still liked the feature despite the fact that it is far from perfect: 7/10

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