Screen Talk: The Nines (2007)

Screen Talk

The Nines (2007)

Dir: John August

If John Sayles directed The Matrix

Who would have thought the screenwriter of the Charlie’s Angels (2000) adaptation could have pulled off one of the most mind-bending features of recent years. John August’s directorial debut The Nines is a bold and extraordinary journey of three intertwined timelines. All three story arcs consist of the same actors operating in an interconnected network narrative. The story begins focusing on the timeline of ‘The Prisoner’, a troubled actor (played by Ryan Reynolds) who after accidently burning down his home and taking drugs, is sent under house arrest. The following timeline named ‘Reality Television’ contains a television writer, Gavin (Reynolds), who is hoping to get his pilot off the ground but comes under some problems. And the final timeline called ‘Knowing’ follows the events of a computer game designer Gabriel (Reynolds), lost in the woods with his family after their car doesn’t start. After deciding to wander off in order to find better signal and call for help, things begin to unfold in ways he could not have imagined.

Attempting to dissect The Nines detracts from one of the primary pleasures the film has to offer: the never ending puzzle piece. Similarly to David Lynch’s Mullholland Drive, albeit not as eloquent, trying to piece together one part of the narrative leads to another part of the narrative being missed. The Nines invites its viewers to bask in its fantasy. And like Mulholland Drive or Kaufman’s Synecdoche New York, The Nines provides more depth and intrigue after every watch. However, given the box office returns of this independent feature, it was clear that it did not wash well with viewers. Indeed there are moments where the dialogue tows the line between profound and toe-curler. These moments though come few and far between, with the writer behind Tim Burton’s Big Fish highlighting his qualities as a new voice in the American independent circuit.

The Nines meshes so many different genres it arguably becomes indecipherable and perhaps impenetrable on its first viewing. Manoeuvring from science-fiction, thriller, documentary and fantasy, John August’s debut follows a closer generic blueprint to a John Sayles feature. Yet with this dense genre cocktail, The Nines is held together by the diverse and excellent acting of Ryan Reynolds. The performances of Melissa McCarthy and Hope Davis supply a solid base allowing Ryan Reynolds to bounce off and shine. The opening timeline illuminates a self-aware component of The Nines, with Ryan Reynolds playing a delinquent, reckless pretty boy. This is then contrasted by the next timeline where Reynolds performs as a homosexual television writer. And it is at this time where Reynolds becomes unrecognisable as his wit, charm and depth shines through.

The Nines is a beautifully crafted postmodern take on the TV, film and gaming industry. Navigating through a multitude of genres, John August’s opening feature achieves a level of realism while illuminating a mind-bending profoundness. Along with this comes a revelatory performance from the star of Boltneck. So maybe it is true, he did get here through a superior acting method. If you know you know.