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Not so long ago, The Skulls would have starred Tom Cruise -- but in which role? He could have been either lead; the one he didn't choose could have landed in the lap of, say, James Spader or Rob Lowe. One can easily imagine Cruise as Luke McNamara, the beefy, rough-and-tumble townie with good intentions who succumbs to greed and egoism and joins one of Yale's secret, privileged societies against his better judgment. After all, Cruise has played such a role before: The Firm, released in 1993, is but one film from which The Skulls steals some of its design. In fact, there are moments during The Skulls when it's as though you're watching a shrunken version of The Firmwith whole scenes lifted, repeated, then gutted. Sometimes, the movie feels like a shadow.
It also wouldn't be so difficult to see Cruise as Caleb Mandrake, the purebred son of a judge whose father has covered for him his whole life, allowing him to shirk responsibility for every bad thing he's ever done. Caleb's the kid who skips out on life's check; his piercing blue eyes and granite good looks are currency enough. The role is almost too perfect for someone like Cruise, who only makes movies to exorcise his daddy fixation. That Craig T. Nelson plays Caleb's father is spot-on: He hasn't been so imperious since he coached Cruise in All the Right Movesseventeen years ago. Cruel Bastard is the role Nelson was born to play after wasting so many years cast as the soft-hearted, soft-in-the-middle sap.
But there is no Tom Cruise, or anyone else so charismatic, in The Skulls. Its whole cast belongs on Starz!, not the big screen. The Skulls relies upon one of the blandest, doughiest leads asked to carry a movie since Sean Astin suited up as Rudy. Joshua Jackson (Pacey Witter on Dawson's Creek), as Luke, is so ordinary, you forget what he looks like from one scene to the next. He has one facial expression, one emotion -- blank. Paul Walker, as Luke's secret-society "soul mate" Caleb, is no more communicative. His past as a model betrays him. He doesn't act; he poses. Perhaps that's why there's no terror or tension to The Skulls: Its actors possess the impact of a wet napkin.
And it's not as though John Pogue's script gives them much to work with. A former Yalie himself, Pogue has set out to expose the school's secret societies (its most famous is the Skull & Bones, of which George W. Bush, his old man and the CIA's founders were members) by revealing them as a treacherous cult that considers itself beyond the laws of mere mortals. "A Skull above all else" is the creed by which they literally live and die. According to Pogue, they will kill to protect their secret -- and even betray their own, if need be. So secretive is their organization, you have no idea who belongs to it or who does the Skulls' bidding. They've managed to take over the world, turning even the good guys (local cops, the school's provost, anyone) into pod people. Intentionally or not, Pogue and director Rob Cohen have remade Invasion of the Body Snatchers and set it in New Haven, Connecticut. Beware what lurks beneath the ivy.
Luke is the innocent corrupted by good intentions: He wants to go to law school but can't afford the tuition (he already owes Yale about $100,000). His only hope is to be asked to join the Skulls, who would frown upon inviting such an unwashed pup were it not for Luke's accomplishments as the captain of the crew team (he's led Yale to three straight Ivy League titles -- hurrah!). His best friend Will (Hill Harper, apparently the only black student at Yale) loathes the Skulls: "Anything elite and secret can't be good," he warns. The third member of their threesome, daddy's little rich girl Chloë (Leslie Bibb, a regular on the WB's Popular), likewise tries to dissuade her platonic pal from joining. But Luke, who's silently in love with Chloë, shrugs her off. He needs the Skulls' power and prestige if he's to escape his impoverished, parentless past.
And so he makes the Faustian bargain that allows him to penetrate the society's guarded walls: He'll take their money ($20,000, deposited in his bank account), their cars (he gets a restored Thunderbird), their tailored clothes, even their women. In return, he must wear their brand (beneath a freebie Breitling watch, a rather nice tradeoff) and keep his mouth shut when Will, the school newspaper's would-be Woodward, turns up dead after breaking into the Skulls' Gothic sanctuary and threatening to divulge its secrets. (Among them is a wall emblazoned with the word "WAR" and a waterlogged basement full of coffins, in which the members are "reborn." The whole thing looks like the set from Young Frankenstein.)
But Luke, of course, can't abide by such a bargain, so he enlists his townie buds to break and enter into the Skulls' lair to discover who committed the crime and how. With that, the film becomes Mission: Impossible, replete with high-tech gadgets and inexplicable scenarios. Suddenly, the film goes so over the top it betrays whatever subtle paranoia it had created during its first half; it degenerates into a series of car chases, shootouts and cornball love scenes in steamy bathrooms. You can almost see Pogue's breathless notes in the script's margins: See, I told you these people are evil!
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