Review: The Hunted (dir. by William Friedkin)

Posted on June 29, 2026 by Arleigh

“Once you are able to kill mentally, the physical part will be easy. The difficult part… is learning how to turn it off.” — L.T. Bonham

The Hunted (2003) is one of those films that feels like it slipped through the cracks of early 2000s cinema—a gritty, atmospheric thriller directed by William Friedkin, a filmmaker whose name alone should’ve guaranteed more attention. Friedkin, the man behind The French Connection and The Exorcist, has always had a knack for tension and raw, almost documentary-like realism, and The Hunted carries that same DNA. It’s not a perfect movie, but it’s a fascinating one, a slow-burn chase film that trades explosive set pieces for mood, character, and a kind of existential dread that lingers long after the credits roll.

The story follows L.T. Bonham, a former survival instructor played by Tommy Lee Jones, who’s called back to help the authorities when a series of brutal murders points to a former student of his, Aaron Hallam, played by Benicio del Toro. Hallam, a highly trained assassin, has gone rogue, and Bonham is the only one who can track him down. The premise is simple, almost minimalist: two men, one hunting the other, with the wilderness of the Pacific Northwest serving as their battleground. There’s no grand conspiracy, no world-ending stakes—just a personal, almost primal duel between mentor and protégé. The film’s strength lies in its refusal to overcomplicate things. It’s a character study disguised as a thriller, and it’s all the better for it.

What’s immediately striking about The Hunted is its pacing. Friedkin doesn’t rush. The film takes its time establishing Bonham’s world—a quiet, isolated life in the woods, where he trains soldiers in the art of survival and combat. There’s a sense of routine, of discipline, and when Hallam re-enters his life, it’s not with a bang but with a whisper. The first act is deliberate, almost meditative, as Bonham pieces together the clues and realizes the man he’s after isn’t just any killer, but someone he once shaped. This isn’t a film about action for action’s sake. It’s about the weight of violence, the cost of skill, and the thin line between hunter and hunted.

Benicio del Toro is the standout here. Hallam is a role that could’ve easily been reduced to a one-dimensional villain, but del Toro imbues him with a quiet, unsettling intensity. There’s a scene early on where Hallam, having just committed a particularly gruesome murder, calmly walks away from the crime scene, his face a mask of detached focus. It’s chilling not because he’s raging or unhinged, but because he’s so controlled. Hallam isn’t a monster in the traditional sense; he’s a man who’s been trained to kill and has embraced that role with terrifying efficiency. Del Toro plays him with a stillness that’s unnerving, his eyes always calculating, always three steps ahead. It’s a performance that relies more on presence than dialogue, and it’s one of his most underrated.

Tommy Lee Jones, on the other hand, is a different kind of compelling. Bonham is a man of few words, a hardened veteran who’s seen too much to be rattled by much. Jones, with his gravelly voice and weathered demeanor, sells the role of a man who’s spent a lifetime in the shadows. There’s a weariness to him, a sense that he’s not just chasing Hallam to stop the killings, but to confront his own past. The dynamic between the two is electric, even when they’re not in the same scene. Their eventual face-to-face encounters crackle with tension, not because of what they say, but because of what they don’t. These are two men who understand each other on a level that most people never will, and that mutual recognition makes their conflict all the more tragic.

Friedkin’s direction is, as always, masterful in its restraint. He’s never been one for flashy camerawork or overly stylized shots, and The Hunted is no exception. The cinematography is stark and functional, emphasizing the cold, unforgiving landscape of the Pacific Northwest. The forests, rivers, and small towns feel like characters in their own right, vast and indifferent to the human drama unfolding within them. There’s a scene where Bonham and a local sheriff, played by Connie Nielsen, track Hallam through the woods. The camera lingers on the trees, the mud, the rain—details that ground the film in a tangible, almost tactile reality. It’s not just a chase; it’s a test of endurance, both physical and psychological.

The film shares some striking thematic ground with First Blood, another story about soldiers haunted by what they’ve seen and done in war. Both films explore men who are not just racked with guilt but suffering from PTSD, their minds fractured by the horrors of combat. But where First Blood ultimately offered a glimmer of hope—that understanding and redemption might be possible—The Hunted takes a far bleaker view. Bonham and Hallam aren’t just damaged; they’re broken in ways that can’t be fixed. Hallam, in particular, represents the idea that some soldiers simply cannot come back from the brink of their experiences. There’s no catharsis for him, no moment of clarity or salvation. The film suggests that for some, the training and the trauma run too deep, and the only way out is through violence. It’s a brutal, unflinching perspective that sets The Hunted apart from more sentimental takes on the same themes.

The film’s action sequences, when they do arrive, are brutal and concise. There’s no shaky cam or rapid editing here—Friedkin lets the violence unfold in long, unflinching takes. A knife fight in a motel room is particularly memorable, not for its choreography, but for its rawness. It’s messy, desperate, and over in seconds. There’s no glorification, no slow-motion heroics. Just two men trying to kill each other in the most efficient way possible. It’s a far cry from the hyper-stylized action of the era, and it’s all the more effective for it.

Unfortunately, the film’s strengths are bogged down by its weaknesses, particularly in how it handles its secondary characters. The supporting cast, including Connie Nielsen as the sheriff, often feel thinly written, existing primarily as obstacles to delay the inevitable showdown between Bonham and Hallam. Their motivations and personalities are barely sketched out, making them feel more like narrative speed bumps than fully realized people. It’s frustrating because the film’s core dynamic is so compelling that these underdeveloped side characters only serve to slow down the momentum. And despite its brisk 90-plus minute runtime, The Hunted still manages to drag at times. The deliberate pacing that works so well in establishing atmosphere starts to feel indulgent when the story isn’t moving forward, leaving the audience waiting for the next meaningful interaction between its two leads.

If The Hunted has other weaknesses, it’s that it might be a little too restrained for some viewers. The slow burn won’t be for everyone, especially in an era where audiences have come to expect constant stimulation. The film demands patience, and those who aren’t willing to meet it on its terms might find it dull. There are also moments where the plot feels a bit thin, as if Friedkin and screenwriter Art Monterastelli were more interested in atmosphere than narrative complexity. But that’s also part of its charm. The Hunted isn’t trying to be a puzzle-box thriller or a high-octane spectacle. It’s a mood piece, a meditation on violence and the men who wield it.

The ending, without spoiling too much, is ambiguous in a way that feels true to the film’s themes. There’s no neat resolution, no easy answers. It’s a conclusion that lingers, forcing the audience to sit with the uncomfortable questions it raises. Is justice served? Is Hallam truly defeated, or is he just the first of many? The film doesn’t provide answers, and that’s to its credit. It’s more interested in the journey than the destination, in the hunt rather than the catch. While First Blood left room for healing, The Hunted closes the door on that possibility for some, reinforcing its bleak worldview.

In the grand scheme of Friedkin’s filmography, The Hunted might not rank alongside his most iconic works, but it’s a fascinating entry in his body of work. It’s a film that feels out of time, both in its style and its themes. Released in 2003, it arrived in a cinematic landscape dominated by CGI spectacle and franchise filmmaking, and it’s easy to see why it didn’t make a bigger splash at the time. But for those willing to seek it out, The Hunted is a hidden gem—a tense, thought-provoking thriller that rewards patience and close attention. It’s a film about the cost of violence, the weight of the past, and the thin line between the hunter and the hunted. And in an era where action movies often prioritize style over substance, its grounded, no-nonsense approach feels like a breath of fresh air.

Review: The Midnight Meat Train (dir. by Kitamura Ryuhei)

Posted on May 22, 2011 by Arleigh

There’s a certain number of books when I was much younger that I thought would’ve made for some great horror films. They were the early works by Clive Barker. Short stories collected into several volumes aptly dubbed his Books of Blood. While several short stories from these volumes were adapted to film in the intervening years most were not worth the time to watch them. So, lo and behold that when I finally saw the latest short story adapted from these collections I was genuinely surprised at how well-made and entertaining it turned out to be. The Midnight Meat Train by Japanese filmmaker Kitamura Ryuhei was a fine piece of horror filmmaking that dripped in atmosphere and a growing sense of existential dread right up to it’s very surprising end.

The Midnight Meat Train is quite a simple story when one really breaks it down to it’s component parts. It’s a crime thriller wrapped in the bloody layers of an extreme horror film. There’s a certain noirish quality to it’s storytelling as we see the film’s protagonist in Leon (Bradley Cooper). He’s a photographer struggling to find the inspiration for his next set of photographs and decides to wander the train stations at midnight to find that inspiration. It’s during one visit at night that he begins to suspect that he might’ve come across one of the latest missing persons who might’ve become a victim of the so-called “Subway Butcher”. The film shows his growing obsession in finding out if the urban legend of this so-called serial killer is actually true.

His mental state only deteriorates as the reality about the “Subway Butcher” (Vinnie Jones in one of his best roles to date) catches up to the truth on one midnight ride on the subway train. His witnessing of the killer at work brings him into a hidden world the rest of the city seems unaware or incapable of acknowledging despite the hundreds of people who go missing year in and year out for almost a hundred years. His girlfriend Maya (Leslie Bibb) and best friend Jurgis (Roger Bart) soon become drawn into Leon’s nightmarish situation and must confront the very boogeyman who has begun to haunt Leon’s waking life.

The film is Kitamura Ryuhei’s first Hollywood film and it doesn’t diminish the talent for some creative visuals he earned while directing horror and genre films in his native Japan. He makes great use of the nighttime setting and the stark environs of the subway trains at midnight to give The Midnight Meat Train an almost black and white look punctuated by vivid splashes of visceral red during the many inventive killings by Vinnie Jones’ mute Mahogany character. Kitamura showed that he was able to squeeze as much as was possible from a script that was average at best. Especially considering that the script had to adapt one of Barker’s shorter tales.

The performances by the ensemble group led by Bradley Cooper ranged from good to excellent with the aforementioned Vinnie Jones leading the pack. Even Bradley Cooper as the tormented protagonist Leon handled the role well. I’ve never warmed to Cooper as an actor as he always came across as a smirking douchebag in almost every role he played prior to this one. He quickly shed some of that reputation for me with his performance in this film and continues to do so with every one since this film. The smirk is still there but he has managed to drop the douchebag aspect of it. I also must point out a nice turn by veteran genre actor Tony Curran as the train conductor who exuded a sense of the otherworldly and a character who held the answers to the questions brought up by the film.

Since this is a horror film one must mention it’s horrofic aspects and this film fills it’s quota of horror. The scenes where Jones’ Mahogany dispatches the unwary last riders of the train at midnight were shot extremely well and with some visual flairs Kitamura has gained a reputation for. There’s nothing cartoony about these kills unlike other slasher films of it’s type. The kills are done in a brutal fashion as meat tenderizers smash into skulls and backs. Then there are the dressing of the kills which gives meaning to the film’s title. The only part of this film which seemed so out of place, but was necessary in the film’s overall narrative was the make-up effects in the end of the dead-end tunnel where Leon finally sees the truth of why Mahogany has been killing passengers on the subway train. It’s here that the film’s budget shows. At least Kitamura was smart enough to film these scenes in very low light to hide some of the zippers and laces on the costuming.

Overall, The Midnight Meat Train was one horror film in 2008 that deserved to have been seen by more people. It’s a shame that the handling of this film’s distribution by Lionsgate bordered on the criminal as it failed to be screened by many theaters which led to it’s failure in the box-office. This was a horror film that delivered on the goods without pandering to the torture porn crowd who had begun to dominate the scene due to the popularity of the Saw franchise. Kitamura’s first work in America showed that he brings a fresh new voice to Western horror. The film also ends up becoming the best of all the Books of Blood short story adaptations and shows that Barker’s earlier grand guignol writing phase could be adapted well to the bigscreen.

Here’s to hoping that the failure of this film in the box-office (Again, I say fuck you Lionsgate) doesn’t keep other up-and-coming horror filmmakers from tapping into Barker’s volumes of short stories for their projects. There’s horror gold to be found there and Kitamura’s The Midnight Meat Train was one gleaming example of it.

Review: Gamer (dir. by Neveldine/Taylor)

Posted on March 19, 2011 by Arleigh

No one will ever mistake the writer-director duo of Neveldine/Taylor (Mark Neveldine and Brian Taylor) as the next Coen Brothers, but they definitely have made their mark in creating entertaining films which some have called exploitative, pandering to the lowest common denominator and exercises in excess. Maybe these critics are right, but they also seem to view the films by these two filmmakers through the narrow-minded lens of their elistist and so-called cineaste sensibilities. They won’t be the next Coen Brothers but they’re way ahead of other so-called filmmaker duos such as The Spierig Brothers (Undead and the pretentious and awful Daybreakers) or The Strause Brothers (AvP: Requiem and the awful Skyline). They came onto the scene with their cult classic action thrillers Crank and it’s sequel, Crank: High Voltage.

Their third film took the gaming influences so inherent in their first two films (which for all intents and purpose were video games that happened to be film) and went the next step. Gamer is all about a near-future world where two games with on-line social media foundations have become the rage of the entertainment world. One is a game called “Society” that looks to be the nightmare evolution of privacy advocates everywhere to the on-line virtual world Second Life and The Sims. It is the other game in this film which makes up the foundation of the film’s plot. “Slayers” takes the ultra-popular multiplayer on-line experiences of games such as Call of Duty and HALO to the next level by allowing gamers to actually control real people (inmates sentenced to death) to act as their avatars in a real-life battlefield arena with real weapons and real deaths.

These games which have become the obsession of hundreds of millions of people worldwide are the brainchild of the film’s antagonist. Michael C. Hall plays the creator of these games and his performance looks to combine the sociopathic charm of his Dexter character with that of Steve Jobs is the latter was openly honest about his douchebag tendencies. Playing his opposite is the character of Kable who happens to be the reigning champion of the game Slayers and who knows a secret that could tear down the billion-dollar empire created by Castle. Gerard Butler plays the desperate but very capable inmate Kable who just wants to survive past the final match and earn his freedom thus return to his wife and young daughter on the outside.

Gamer posits the question of how far are we willing to go to experience realism in our games and entertainment. With the game Society people pay to be able to control other people in a social setting (albeit in a controlled area). These so-called avatars will do anything and everything their real-life controllers tell them to do. In the film these avatars get paid to become virtual slaves and with most people signing up for the job being the socially desperate. Their situation is not so dissimilar from the condemned inmates who populate the game Slayers. The film hits the audience with a sledgehammer that these virtual entertainments have become popular worldwide because people have stopped looking at these “volunteers” as real people. Morality has been replaced by the need for instant gratification by way of these virtual on-line systems.

The film doesn’t make any apologies for the heavyhanded delivery of it’s message and also doesn’t skimp on the entertainment side of the equation. Neveldine/Taylor have shown that they have a certain flair for creating visual chaos and action on the screen. Their unique visual style does look like something out of a video game especially those from hyperrealistic shooters such as Call of Duty and its ilk. The filmmakers have always accomplished the high-quality visual look of their films despite the low to modest budget given to them by the studios they’re working for. Gamer is no exception and the film benefits from the decision by these two filmmakers to continue working with the Red One digital cameras thus allowing them to add in the visual effects right into the shot scenes the very same day of shooting.

It’s this very style of hi-tech guerrilla filmmaking which makes Neveldine/Taylor this current era’s Cormans. Unlike most low-budget filmmakers they don’t use the size of their budget to dictate how their films turn out visually, aurally and narratively. The first two this film succeeds in ways that makes an audience think the film was higher budgeted than it really was. The third would depend on the viewer whether the film succeeds or not. For those who seem intent on viewing every film as if they were made to be worthy of high awards and accolades would probably dismiss and hate this piece of exploitation cinema. Gamer succeeds in a narrative sense because it delivers on the promise of telling a story about a world where free will has been seconded to control in the need of a population in search of a the next virtual playground. It’s a heady premise that has been explored in past films such as the Matrix Trilogy and another film similar to this one which came out weeks later in Surrogates.

Gamer doesn’t have the philosophical and existential sermoning in combination with futuristic action sequences as the Wachowski Brothers’ trilogy, but it does have the same visceral action DNa as those three films and also more entertaining than the Bruce Willis vehicle Surrogates. This film will appeal to the very people who it condemns as sheep to the rising tide of on-line control in entertainment, but then that’s what all exploitation films tend to do best. Cater to the very people it uses as examples of what’s wrong in society and build an entertaining film around them and what they represent.

The film’s cast revolves around Gerard Butler and Michael C. Hall and the roles they play. Whether its Amber Valletta playing Kable’s desperate wife who has sold herself to become a controllable avatar in Society to try and earn enough to get her young daughter back or to Logan Lerman playing the role of Simon the gamer who controls Kable during the Slayer matches. They all do enough with their roles to keep their characters from becoming less than one-notes. Again, for some having a film with characters that are quite basic and one-note might make for a bad film, but when put into context of the story being told they’re quite good and needed to become motivators for Butler’s character.

In the end, Neveldine/Taylor have made a modern day exploitation and grindhouse film in Gamer without having to resort to the visual tricks used in the Rodriguez/Tarantino grindhouse homage film Grindhouse. A film doesn’t need to have film scratches, overexposed film stock, scratchy audio track or missing film reels to be grindhouse. It just have to espouse the very nature of the films which made up the kind of films which became prime example of grindhouse/exploitation cinema. Gamer won’t win any awards, but I suspect that more people who saw it were entertained by it’s blatant, in-your-face entertainment than would normally admit to it. It’s a film that has cult status and guilty pleasure written all over it.

Plus, this film is definitely worth at least a curiosity viewing if just to see the musical number performed by Michael C. Hall at the climactic sequence near the end of the film. I don’t think any film has ever combined gratuitous violence, musical dance numbers using bloodied death row inmates and Michael C. Hall singing Frank Sinatra’s “Ive Got You Under My Skin“. That sequence alone is worth a rental or Netflix Instant streaming.

Review: Crank (dir. by Neveldine/Taylor)

Posted on January 29, 2011 by Arleigh

Through the Shattered Lens has been quite eclectic when it comes to reviewing films, music and all forms of entertainment. While we’re not averse to the more high-brow and artistic fare what will come across to most visitors of the site is how love for grindhouse and exploitation films are quite strong in this place. Grindhouse and exploitation of the 60’s, 70’s and 80’s usually fill the bill but once in a while a certain film of aq more recent time frame will make the cut. One such film is the over-the-top, ultraviolent and extremely funny film Crank from Mark Neveldine and Brian Taylor, or as they like to call themselves, Neveldine/Taylor.

One thing I must point out is how this movie has confirmed Jason Statham in my eyes as the current action-star of the last couple years. A favorite of Brit action-auteur director Guy Ritchie, Statham has gradually built himself a decent list of action-movies that take good advantage of Statham’s old-school sense of machismo and smirking confidence reminiscent of the such past macho actors like Lee Marvin, Charles Bronson and Steve McQueen just to name a few. Statham is thick in body, but none too muscular and his wry, British sardonic personality mixes well with his many different action-movie personas. In Crank he pretty much steals and holds the ludicrous and unique different plot from spiralling out into camp and MST3K territory. Even though Statham would never be considered an acting giant, his performance as the hitman Chev Chelios racing against time to avenge his inevitable death was very well done. Crank starts with a bang and doesn’t let up. Like the actions and behavior of its main character, this film seems to be racing towards the end and not caring to slow down and give the audience a chance to take a breather. He literally willed this film to be nothing but crazily entertaining.

Many have called the idea for Crank as another derivative of the mid-90’s action film Speed. I’d be the first to say that they’re really not off the mark by much. Instead of a bus wired to explode if it dips below a predetermined speed, Crank puts the same premise and uses a human body instead. The human in question is one Chev Chelios whose botching of a contract hit lands him in a bit of hot water with the underworld bosses who hired him to do the job. Ambushed and knocked unconscious, Chelios soon wakes up to realize that something is definitely wrong with him. A bit of villain grandstanding from the employer he disappointed, Chelios quickly finds out that he has been injected with an exotic cocktail of chemicals called the Beijing Cocktail (definitely sounds like something made-up for a grindhouse flick) which would kill him by inhibiting his body’s ability to produce adrenaline. He learns from a colleague that he will need to keep his adrenaline pumping constantly to remain among the living and must do so by any means necessary. Whether he accomplishes this through extreme physical activities, drugs, and energy drinks Chelios must do them all in order to buy himself enough time to tie up lose ends in his life and to find the employers who have killed him. That is pretty much the story of Crank in a nutshell.

Crank doesn’t take much of the film’s early minutes to explain some backstory on Chelios other than him being a professional hitman. Instead writer-directors Neveldine/Taylor use the entire running time of the movie to gradually give glimpses into what kind of a person Chev Chelios is. With their use of handheld digital cameras and kinetic-style editing and camera shots, Neveldine/Taylor takes the premise of Crank and lets the audience ride along not just as passive viewers but almost like active participants. The “in the now” look of the film with some shots angled so that they’re almost in first-person or over the shoulder views doesn’t look as gimmicky as it sounds. One film released the same year that compares to Crank in terms of unique filmmaking for an action film it would be Running Scared that was released earlier this year. Both take the action flick conventions and dare to rise above it either through a dark fairytale style that was Running Scared or the manic, darkly amoral humor that gives Crank such an exhilirating sense of pacing.

The one thing that people will remember most about this movie is the many action sequences that happen throughout the film. With their decision to use handheld digital cameras, action sequences in Crank take on an almost hyperkinetic look to them. Again this film shares some similarities with Running Scared with how its action sequences were shot with such inventive use of angles and framing not to mention in-your-face violence. Crank has less of the surreal quality of Running Scared and more of a live newscast. In fact, at times I felt as if I was watching a news crew vainly chasing after Statham’s character as he paints the Los Angeles with non-stop adrenaline-pumping violence and activities. Whether its him getting into an outnumbered free-for-all brawl with a certain inner-city gang or having a very impromptu, unexpected and thoroughly indecent display of public affection with dozens in witness, the film’s amoral and sense of active nihilism makes this film a most politically-incorrect one. There’s a scene involving a taxi driver that was wrong on so many levels yet it invoked some of the biggest laughs and reactions from myself and the audience around me when I first saw it in the theaters.

The violence comes hard and fast and unlike Statham’s past couple of Transporter flicks, there’s nary a martial art choreographed fight scene to be seen. No, Chelios is an action film character who attacks and fights with sudden directness and brutality with as little movements required as possible. Chelios doesn’t need kung fu or karate moves to take out an opponent when a a well-placed kick, punch, elbow, etc…is all that’s needed to put a man down. Crank’s action sequences also had no CGI used (something I learned prior to seeing the film) with Statham doing most of his stunts. This wouldn’t be too much of a big deal until one factors in the fact that one of the action pieces takes place in a helicopter flying a thousand or so feet above the street of LA. Statham must have quite a steely pair if there’s truth behind him doing that helicopter fight with no greenscreen CG trickery or wire-fu assistance used.

Outside of Statham the rest of the cast took to their roles with a relish and had fun with them. And as with every action-flicks the hero will need a foil to motivate him. Statham’s Chelios has his opposite number in Verona played with thuggish calculation by Jose Pablo Castillo. Then there’s Doc Dwight Yoakam as Doc Miles. Chelios’ acquaintance whose knowledge of all things chemical borders on the absurd but in Crank makes it work. But the other performer who stood out outside of Jason Statham has to be Amy Smart as Chelios’ ditzy but well-meaning girlfriend, Eve. She plays this character to the hilt and seem to be having a ball while doing so. Her outdoor scene of PDA with Statham and a follow-up scene during a car chase shows me that Ms. Smart was pretty game about going all the way with how to portray her character.

I won’t mention too many more details on what actually happens in the film since I think its best to see it for oneself. Words can’t really describe the sheer insanity and fun mayhem this movie puts up on the big-screen. The story may not be too original and it’s lead may not be the best actor out there, but what Statham lacks in acting proficiency he more than makes up for sheer charisma and old-school machismo that’s way too rare in action-flick actors nowadays. Crank is more than your run-of-the-mill action movie. The creativity shown by writer-directors Neveldine/Taylor gives Crank a unique look and their attempts to try new techniques succeeds more than it fails. But in the end this film lives and dies on the shoulders of Jason Statham who I must say is the action-hero of this new generation of actors.

So, better grab hold tight of something or someone, because this film is one hell of a ride and you’re not getting off until the very end whether you like it or not.