The Resident could have done for sleeping what Jaws did for the water, that’s assuming of course it didn’t completely blow it in the final 30-minutes. It is utterly amazing, baffling, and even illogical that script writers and directors have yet to catch on that the audience will pick away at movie stupidity.
In this case, Juliet (Hilary Swank) is stalked by her oh so creepy landlord Max (Jefferey Dean Morgan), leading to the eventual chase through her new cheap, luxurious abode. She is given multiple opportunities to escape, kill him, or call the police, but no, her one attempt at a phone call is to her boyfriend. Brilliant.
She’s not stupid either, an ER doctor with some serious heart-stapling skills. The movie does little to establish her intelligence once she’s out of a medical facility. Morgan is great in this role too, a real shame his creepy, unnerving, and deeply sexualized voyeurism is all for naught. Resident plays its cards early too, an unnecessarily long flashback detailing Max’s obsession instead of simply letting the narrative evolve naturally.
Resident takes a lot from Psycho, not the least of it the entire premise. Max even has an ailing grandfather played by Christopher Lee, appropriate enough casting since this is from the re-imagined Hammer Studios. Max may not be Norman Bates, but they’d probably get along well.
Or, maybe not, Max taking an excruciatingly long time to track down his victim in the end, and he can take some serious punishment. He’s “that” movie bad guy, the one who simply won’t die and takes an extravagant beating. Nail guns, doors slamming shut, knifed multiple times, bashed in the face with a wrench, more nailgunning… even a video game boss would stare on in awe at his longevity. The stupidity actually suits it though, since it’s readily apparent that nothing The Resident is trying to do for its finale is meant to legitimize the tension. Congratulations on the consistency?
Image produces a wonderful, filmic, and clear transfer for Resident’s Blu-ray. New York presents some vivid photographic opportunities, the Brooklyn Bridge utilized often as a backdrop. Every rivet, line, and support beam is resolved, no aliasing to take note of either. The detail transition happens for human characters too, close-ups simply outstanding with few light exceptions.
A bold, deep contrast can run hot, especially outdoors on the city streets. Rarely does it lead to blotched out definition, for the most part merely leading to additional depth and dimensionality. Black levels reign supreme here, extravagant in their richness, and that’s critical considering how much of the film takes place in a dimly lit apartment. There are even brief flashes of total darkness, the screen maintaining purity without a distraction.
Resident is colored warmly, sacrificing flesh tones to the god of orange. They only recover inside the hospital where the saturation looks lightly diluted. The rest of the way out, Swank looks so tan she would have been in the sun long enough to contrast six different forms of skin cancer. Other primaries leap off the screen, the exterior wall of an art gallery producing a glowing, bright, and heavy-handed red that is nothing short of eye catching.
A light grain structure is at work, Image’s AVC encode showing no signs of slowing down or losing to the film stock’s natural qualities. No noise is present and the grain structure is consistently light. All in all, a fine bit of work by the transfer team.
This DTS-HD mix does contain a mistake, a fairly distracting one too. Near the opening, Swank is in her bed, and a TV’s audio is clearly heard in the left front, tracking to the center. The image is the opposite though, the TV off the right, making for an awkward bit of split stereo channel audio.
That’s easy to let go since this one is filled with some wonderful creep outs, from windows creaking, floor boards groaning, and squeaky doors, all coming from a variety of angles. The wall interiors of the apartment have a staggering level of leaky pipes (enough that the foundation would surely be screwed), creating a nice enveloping effect during a few of the quieter moments of the finale.
While the low-end isn’t the recipient of much work (just one scene at 11:05 really), the track keeps itself active. New York streets features cars passing through each channel, subways rumbling through front to back, and a party that is as lively as they come for a professional type of event. Dialogue is well balanced, and when the music ramps up, it creates an additional enveloping effect to complete a successful effort.
The only extra here is a trailer, and it comes in the wrong aspect ratio and SD.