The Nines (2007)
(On Cable TV, March 2019) It took me twelve years to make my way to The Nines, and I’m glad I eventually did. I guarantee you won’t guess where it ends from where it begins, as it starts with Ryan Reynolds playing an actor on house arrest, but then becomes weirder as clues accumulate that we shouldn’t take that reality for granted. Eventually, we end up in science-fiction thriller territory, with three stories crashing into each other in ways that are increasingly strange. It does make sense in the end, even though the final impact is lesser than could have been anticipated twenty-five minutes in. One good reason to watch The Nines is the number of pre-stardom actors showing up: Reynolds lends his charm to three linked roles, while Octavia Spencer uncharacteristically shows impressive cleavage, and most notably Melissa McCarthy shows up here as a rather sweet character before her post-Bridesmaids screen persona settled (at least temporarily) on an abrasive nature. Her stripped down, classically traditional performance will make converts of those who couldn’t stand her in the 2010s. Taking a step back, there’s a quite a bit of fun in putting the various said and unsaid layers of the story together—the “Nine” symbolism isn’t hard to see (although 9 as “I, X” or if you prefer “I, an unknown” isn’t dwelled upon) but the film has fun blending together acting, writing and videogames into a panopticon of assumed identities. I’m a bit annoyed that it took me twelve years to see The Nines—while it’s not the greatest film ever made, it’s a happy discovery and one that may play better now than in 2007 due to the rising fortunes of its stars and how we perceive them … adding another layer to writer-director John August’s film.