Antione Fuqua’s remake of “The Guilty“ has some thrilling moments, thanks to Jake Gyllenhaal’s performance; however, it lacks the impact of the original and doesn’t have the purpose of being.
There have been many American remakes of international films, mostly made during these last couple of decades. I honestly think that this shouldn’t happen; just stick with the original and read the subtitles. But unfortunately, every year we get the announcement that a new one is coming, and it is just so disappointing that some directors don’t have anything else to do. In this case, this is a remake of Gustav Möller’s “The Guilty” (2018). Nobody asked for it, yet it arrives by the hand of director Antione Fuqua (“Training Day”, “The Equalizer”) and Jake Gyllenhaal in the lead role.
As the wildfires rage on the coasts of Los Angeles, police officer Joe Bayler (Jake Gyllenhaal) is stuck in a tedious shift answering emergency calls during a night shift. He is in that situation because of a demotion ahead of a disciplinary hearing. He gets a cryptic call from a woman (Riley Keough) who her partner is abducting during his late shift. Joe is now trying to figure things out with the few clues she has provided him. However, as the crime comes to deeper territory, Joe’s mental state begins to fray, and he is forced to face the demons of his past.
Sometimes, these types of remakes have their story to adapt to a bigger crowd, but it doesn’t change much in this case. If you have seen the 2018 film, you have seen this one. It is, in essence, a chamber piece about a man who is neglecting his demons and trying to solve a problem that makes him face it. With each clue to solve the crime, we receive new pieces to complete Joe’s backstory. We enter the film knowing nothing, just that he is passionate about his job, albeit he is stuck there because of something he did before.
The shell of a man who has seemed to be losing it all, yet we don’t know the reason for it. Taking his frustrations into this search for the truth of the crime being committed. The sense of foreboding coming from both ends of the table reaches out just by mere voices and nothing else. The story’s core does have some leverage, and it isn’t that hard to demolish something so simple. It is all about what’s at the heart of it; the meaning or reason behind making it. That is the problem with this movie. It doesn’t have much reason to exist.
Its thrilling aspects come foremost from Gyllenhaal’s performance. His dedication to the role is evident. When he is losing his mind, and his troubles worsen, “The Guilty” becomes more suspenseful. Yet, it is repetitive in its cause and repetitive in that it mirrors the original greatly. It doesn’t have much to offer, but it does entertain for the 90-minute runtime it has. It has some heft to elevate some scenes, and there are a few moments of deep tension. Nevertheless, this doesn’t have the control, determination, or punch of the original.
It isn’t fair that there is a remake so quickly, almost three years after its initial release. It’s becoming tiresome that directors do these remakes, and not only do they have anything to offer, but they also lack the essentials to make a compelling film. “The Guilty” isn’t boring; it entertains slightly and never slows down. Even so, on the inside, there is a feeling that something is missing. Its presentation is lacking, and it doesn’t do justice to the original. As the film runs its course, you don’t question the story but the reason why this remake exists. Watching the original and reading the subtitles overall offers a better experience.
