Alejandro Amenábar

(In French, On TV, April 2019) Any discussion of Regression will mean spoiling the ending, so prepare yourself or stop reading. There’s a huge paradox at the heart of the film: It’s bad most of the time, and its sharp improvement at the end comes at the expense of robbing the film of any satisfying narrative. Let me explain: Much of Regression is spent with a policeman (Ethan Hawke, solid) in 1990 small-town America, investigating the testimony of a young woman (Emma Watson, better than expected) who claims to have been sexually abused. So far, so conventional, except that the film becomes abruptly dumber once it leads us to claims of a satanic cult, regression hypnotherapy, sacrificed babies and small-town conspiracies. By the time our protagonist is maybe drugged and maybe raped and maybe stared at by members of the local satanic conspiracy, viewers can be forgiven if they give up all hopes of the film ever becoming anything more than a standard horror film of that type. At that point, Regression isn’t just being unoriginal both for its content and presentation—it revels in tired old clichés and discredited material (both hypnosis and satanic cults) that belonged in the 1990s. Fortunately, director Alejandro Amenabar has something up his sleeve, and it’s to spend the last five minutes of the film unbolting its own narrative and telling us that it was all lies, that satanic cults don’t exist and that regression hypnotherapy is a bunch of hooey. Having destroyed itself, Regression ends. What are we left to think? That it’s good that the ending got back to reality, or bad that whatever narrative structure was being built was pulled from underneath us? I’m still not sure. It may be possible for a film to redeem itself and yet leave us unsatisfied. But it’s not the ending: much of the film’s bulk is as uninteresting and generic as what it initially purports to be—there are more fundamental issues here than an ending designed to upset viewers. If it had been an interesting but ludicrous ride to a self-destructive ending, I wouldn’t have minded so much—but Regression makes the double mistake of being both (intentionally) stupid and (unintentionally) dull and the combination is deadly to the film’s enjoyment.