The Silencing (2020)
I wanted to love this film; I really did. Unfortunately, The Silencing is like so many thrillers: forgettable. It’s hard not to compare it with other, better films of the genre — which is a shame, because it could have been great. For a thriller, it sure is lacking in the thrills department.
The Silencing is formulaic and predictable. Rayburn Swanson (Nikolaj Coster-Waldau) is an alcoholic hunter-turned-conservationist, still holding onto the hope that his missing daughter will be found alive after five years. Alice Gustafson (Annabelle Wallis) is the sheriff that no one really likes, who goes out of her way to protect her drug-addicted little brother (played by Hero Fiennes Tiffin). After a girl’s body is found in the woods, they work together to find a serial killer who may have been responsible for the disappearance of Rayburn’s daughter. Halfway through, it’s all too easy to guess who the culprit is.
It’s hard to tell where the story takes place — Minnesota, judging from the license plates, but it could be any backwater town. A couple of characters utter, “You betcha,” but that’s it. It’s like watching Fargo without the heavy Minnesotan accents (or the interesting characters and well-developed plot). Does it really matter? No, but it may have made the film more enjoyable.
The Silencing relies heavily on its cinematography to set the tone. Its use of dark, muted colors is exactly what you’d expect from a thriller, but it’s done well. The camera work is actually the best part of the film.
Coster-Waldau’s performance is strong enough to carry the rest of the cast. Rayburn’s pursuit of his daughter’s killer is what keeps you interested; you desperately want to know if he’ll get closure, or even find her alive somewhere. Wallis’s sheriff is unlikable and unethical. The film obviously wants you to root for her, but it’s asking the impossible.
If you have ninety-three minutes to kill, there are worse ways to spend your time. If you’re looking for a good thriller, The Silencing isn’t for you.
*This review was originally published by Katherine J. Zumpano
