The Voices (2015) | Film Review

The tone of a black comedy is one of the more difficult in film to achieve, an even more arduous a task is crafting one which actually clicks. A certain finesse is required to marry the elements of the absurdly hilarious with the macabre and “The Voices”, a film revolving around an extremely jovial and schizophrenic psychotic, is the latest to take a stab at the genre. It also serves as the rare exception where this approach sticks the landing, making “The Voices” one of the most whacked-out black comedies of this decade.

Ryan Reynolds stars as Jerry, a mild-mannered factory worker who spends every moment attempting to brighten the day of all those around him. Jerry is, seemingly, an all-around great guy. He also believes animals are talking to him.

Jerry has recently released from a psychiatric facility, seen as someone who could now function properly in today’s society, provided he continues his required prescription. Unfortunately, Jerry prefers the non-medicated, colorfully lit perception of reality as opposed to the more dour and factual dose he receives when the drugs kick in. As his evil talking cat attempts to corrupt his every whim, his yappy dog fights for Jerry’s moral soul, and his psychiatrist (Jackie Weaver) pleads with him to take his medicine before it’s too late; Jerry is presented as one very disturbed man at one hell of a crossroads.

Jerry then begins a romantic obsession with Fiona (Gemma Arterton), a beautiful and completely disinterested office accountant. Events also entangle him in a relationship of sorts with another fellow employee, one much more into Jerry herself, Lisa (Anna Kendrick). As “The Voices” progresses, and he becomes increasingly unstable, the relationship between Jerry and these two women comes to a volatile collision.

Getting into The Voices took some time. The screenplay by Michael R. Perry plays out primarily from the viewpoint of Jerry himself. So when Jerry skips his dosage, his murderous impulses play as almost incidental or necessary and he visualizes the world as a beacon of positivity and empathy. Only when the medication kicks in do we, the audience, get a full understanding of exactly how destructive Jerry’s mental plight has become. It is a chancy route to take, as any film with a lead who spends a significant amount of time enduring lively conversations with animals and severed body parts runs the risk of spinning into full-blown camp.

What keeps the film planted in semi-reality is Ryan Reynolds himself. Reynolds has long been a force in comedic work, yet thus far has floundered when trying to mesh his obvious comedic skill with dramatic fare. Jerry (and the various animals he also voices) affords Reynolds an opportunity to showcase his dual abilities when supplied with the proper material, an opportunity Reynolds firmly grasps the reins of.

Arterton and Kendrick both delight in their commitment to the insanity in the material, yet they serve as mere plot devices through which we absorb Jerry’s mental state than fully developed characters. The entirety of “The Voices” rests squarely on Reynolds’ shoulders, upon his ability to continue our sympathies even as we realize Jerry, regardless of the disadvantages stemming from his psychological condition, is a brutal murderer. We need to understand his shift from mental illness to factual reality and back in order to truly comprehend the extent of Jerry’s actions. Reynolds’ performance here should finally put to rest any doubts remaining on the actor’s dramatic talents.

As we weave in and out of Jerry’s tortured mind, director Marjane Satrapi keeps the film vibrant and alive. I cannot recall the last time a film this disturbing and ridiculous also made me laugh as shockingly and as often. Satrapi appreciates the material enough to allow it to play out as scripted, while other directors would shy away from the more ludicrous elements to focus on more visceral thrills. Even as we roll into the final act, as Jerry’s situation begins to level off and we settle in on a more singularly dramatic conclusion, Satrapi confidently swings the pendulum right back into the insane with an end credits scene that will either invigorate or infuriate everyone watching.

It manages to avoid most of the common missteps found in black comedies, making “The Voices” one of the most entertaining of its kind since Donnie Darko confused us all over a decade ago. Give the movie a chance, these voices demand to be heard.

Starring Ryan Reynolds, Gemma Arterton, Anna Kendrick
Written by Michael R. Perry
Directed by Marjane Satrapi

Aaron Peterson
The Hollywood Outsider