The Gift Whose Baby Is It

The Gift Whose Baby Is It - As Criticwire pointed out last week, its main claim to fame is that Joel Edgerton's "Signs," an ad campaign that previously straddled the line between viral hype and outright trolling, has become one of the highest-rated films ever. 2015: Currently #28 on Rotten Tomatoes. After its opening weekend, however, the ending of "The Gift" became apparent that upset some critics and viewers, turning what was once admiration and delight into outrage in some cases.

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The Gift Whose Baby Is It

In his feature directorial debut, Edgerton is a sure hand behind the camera, constantly changing the moviegoer's beliefs as he slowly tightens the screws, even embracing our understanding of who the protagonist is since David Wood's Perfect. Holdox." We sympathize with Jason Bateman's Simon, who has just moved closer to his childhood home and started a new job, and especially with his fashion designer wife Robin, who struggles as the couple recovers from a miscarriage and tries for another child. Simonov

high school classmate Edgerton Gordon and we have a mysterious past. It feels like revenge for the wronged (or misunderstood). This is a movie that starts you on what could be footsteps in a bright California house, always aware of the edge of the frame and

of what lurks just behind him. Edgerton isn't afraid of jump shots, but he doesn't rely on them either, preferring to build tension slowly, even ambiguously, as we never know whether the real threat comes from Gordon or Simon's reaction.. Far from being a victim,

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now we realize that Simon has always been a manipulative deceiver: when he spread malicious rumors about "Gordo Weird" who ruined his life in high school; And in adulthood they produce evidence that can sabotage their opponents for professional advancement. (Although "The Gift" doesn't make much sense, Simon's work with data and digital security are intimately connected.) We understand that Robin is fascinated by him, maybe even attracted to her.

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First and foremost, he is a recovering addict prone to self-doubt. Simon was minutes away from getting everything he wanted: a beautiful wife who was confident enough to give up a high-powered job and career to once again raise the child he was carrying. But when Robin's pregnancy ends, she begins to understand who Simon is and how she doesn't care for him.

As she lies in her hospital bed after giving birth, when she tells Simon that her marriage is over, he brings back the last of a series of gifts Gordon has been leaving in their house since the beginning of the film - and that's when things really get going.

messy. . Along with the collapsible stroller, the package includes a DVD showing Gordon crawling into the couple's house, drugging Robin unconscious and getting into bed with her, suggesting that he may have raped her and even fathered her newborn. boy. Gordon will have to live with the "mental poison" that will never go away, knowing that Simon may have raped his wife, just as Simon had to live with the rumors about him in high school.

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Of course, Gordon said he didn't really get over it. But maybe yes. Our subversive culture doesn't allow first-wave reviewers to discuss a film's plot in depth, especially one as tense and twist-driven as The Gift , but few critics who discussed the film brought it up.

Its end could have been caught in the breast. (ScreenCrush's Matt Singer raised a red flag, and The Playlist's Cathy Walsh warned that "Robin, the emotional heart of the entire film, has turned into a psychological vendetta.") But after the premiere, the gloves are off.

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Rebecca Pahle of The Mary Sue wrote that "The Gift" returns to its old territory after dealing with the ambiguity of whether Simon or Gordon is the film's villain. Scary Gordo is a monster. And Simon will continue to be a victim. He may be a bully who lies to his wife and mentally abuses him, but hey, he's never sexually assaulted anyone!

And he's never confronted with the fact that his behavior is wrong...Robin, the most developed to date, is reduced to something two guys can argue about." Christy Puchko at Comic Book Resources wrote, "Edgerton created an interesting concept. terrible acting. His actors did a fantastic job of breathing life into these deeply flawed characters and building the tension and drama to dizzying heights.

Quick Answer: At The End Of The Gift, Gordo Reveals His Final Gift To Simon And Robyn: A Video Of Him Drugging And Presumably Assaulting Robyn. It’s Unclear Whether Or Not Robyn’s Baby Is Gordo’s Or Simon’s, But Gordo Hints, “It’s All In The Eyes, You See.” Since Fatty Has Brown Eyes And Simon Has Blue Eyes, We Can Guess The Father By Checking The Baby’s Eye Color. When Simon Runs Back To The Hospital To See Robyn And The Baby, We Can’t Clearly Identify The Color Of The Baby’s Eyes, But It Doesn’t Matter. Since Gordon Relies On Psychological Rather Than Physical Manipulation, It Is Likely That He Did Not Assault Robyn And Made Up The Lie To Echo Simon’s Made-Up Story That Gordon Was Sexually Abused As A Child.

And then he threw it all away with a conclusion you'd expect from a brainless soap opera. He grossly insulted the entire film in its final moments. , disgusted this reviewer." And Flavorwire's Jason Bailey summed it up: It's pretty silly; After a press screening, a critic told a friend in the lobby that the movie seemed to be deliberately ignoring the existence of DNA testing. And yet, even if it's not

against, putting on the movie hat is still a very effective button, and it's another example of (mostly male) TV writers and filmmakers using violence as a shock button that's been pushed too often, too often. blithely. It's not in "The Gift" creepy and not clever; it's just cheap. You could also argue that The Gift is part of the domestic thriller tradition; The most obvious example is the use of sexual violence as a plot in The Cradle of Arms, while the story and suspense of films like Trespassing

and Sleeping with the Enemy are undoubtedly driven by threats (express or otherwise) of rape. But these films were made in a different time and culture, and to dismiss such a film as some kind of stupid, "gotcha" leaves a very sour taste and a commendable scene.

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The ending of "Gift" is a terrible mistake, and I don't think it was the reason the film was pushed to the Dog Days of August. But I don't think it's such a catastrophic phenomenon. One thing is certain, Gordon did not rape Robin. It didn't fit the tone of the film, which was uncomfortable but not too gross, and it didn't fit the idea of ​​visiting Simon as the imaginary horrors that plagued him in high school.

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Gordon comments that if Simon was a more honest person, he might believe Gordon when he said he didn't do it. But Simon has built his life on deception, and mere hope cannot hold him back. (You might argue, as some colleagues have, that it doesn't matter whether Gordon rapes Robin or not. It's true in that The Gift uses the fear of rape as a plot device. Knowing exactly what kind of monster Gordon is is how

understand his character..) As for the climax taking away from Robin, I would argue that The Gift is constantly in doubt as to who the main character is. It's a film about perspective, about what we see and don't see, both literally (What's taking shape in the dark?) and figuratively.

Edgerton often uses endings in media scenes that later leave us wondering how they ended. When Robin passes out at home, the film cuts to her waking hours the next morning, and we assume she's awake enough to drag her to bed — a prediction that the final moments of the film prove to be completely wrong.

Likewise, the confrontation between Simon and Gordon leaves Gordon humiliated on the parking lot floor, but seemingly unharmed. The next time we saw him, his face was cut and his hands were tied with straps. Did Simon do it? In the final shot of The Gift, we see Gordon walking away from the camera as he unclips himself through the frosted glass of the hospital door, and we remember that we don't know him at all.