The Minus Man

An unassuming, charismatic personality and a bottle of poison prove to be a lethal combination in `The Minus Man,' directed by Hampton Fancher and starring Owen Wilson. When a personable young man drifts in from the Pacific Northwest and settles in a small coastal town, a number of people's lives are soon changed forever, and not for the better. Vann Siegert (Wilson) is a likable fellow with a winning smile and always a credible story regarding who he is, where he's been and where he's going; he's also a psychotic killer who chooses his victims seemingly at random, yet is so ingratiating that he never falls under suspicion. And such is the case when he rents a room from an unsuspecting couple, Jane and Doug Durwin (Mercedes Ruehl and Brian Cox). Without realizing, of course, that he's enabling a murderer, Doug helps Vann find gainful employment, allowing him to establish himself within the community, and the rest-- as they say-- is history. In one of the more telling scenes in the film, Vann reflects to himself, `If it weren't for me, these people would all be doing something else today...' What they are doing, in fact, is searching for one of their own who has gone missing, courtesy of Vann. What is so distressing about this movie is the lack of menace outwardly presented by someone so intrinsically evil; like Norman Bates in `Psycho,' Vann is simply too unprepossessing and benign to be considered a threat to anyone. The contrast between his countenance and his crimes is chilling; and the fact that he perpetrates his deeds in such a matter-of-fact, unemotional manner gives new meaning to the phrase `cold blooded killer.' One of the interesting aspects of the film is that Vann acts as narrator as well, which effectively puts the audience inside the mind behind the madness, even more so than in `Silence of the Lambs,' because in this case, the viewer is privy to the actual thought process that precipitates the crimes. And it becomes a bit unnerving after some reflection upon what is actually transpiring under the guise of `normalcy.' Owen Wilson is well cast and gives a stunningly credible performance as Vann; he conveys such a low-keyed, eye-in-the-center-of-the-storm manner that he is instantly recognizable as the boy next door you'd be more than happy for your daughter to date. And after watching him in action it becomes truly disconcerting to consider that in the real world there are those who look and act like Vann and are capable of such heinous acts of violence and deceit. As the couple who takes Vann in-- and are subsequently taken in by him-- Ruehl and Cox capture the essence of the `everyman/woman' that can be found in any neighborhood in any town, and the fact that they are people with whom it is so easy to identify makes it even more upsetting when you realize that the vulnerability to which we are all prone can be exploited with such facility. In a supporting role, Janeane Garofalo is a welcome presence as Ferrin, a co-worker of Vann's who is drawn in by his winsome facade; and rounding out the supporting cast are Sheryl Crowe (Caspar/Laurie), Dwight Yoakam (Blair), Dennis Haysbert (Graves) and Alex Warren (State Trooper). Ultimately, `The Minus Man' is a cautionary tale that may spark a touch of paranoia in the viewer, and with good reason; and after spending some time with Vann, it just may alter your perception of some of your more casual acquaintances and even some old friends, especially those who seem so `ordinary.' It's a film that kind of sneaks up on you and takes you by surprise; and it may leave you pondering the darker side of human nature. I rate this one 7/10.

Vann Siegert (Owen Wilson) is a quiet, friendly, young man. Although a bit slow-witted and new to town, he quickly develops a close relationship with the couple he boards with (Brian Cox and Mercedes Ruehl), is being pursued by an amorous co-worker (Janeane Garofalo) and distinguishes himself as go-getter at the Post Office. There is one little thing that sets him apart from everybody else - he's a serial killer.

Minus Man is atypical of the films in this genre: there have been few trailers, it boasts no A-list stars, blood and guts are nowhere to be found, there is little melodrama, and it has a tight, well-crafted script. While the film seems to plod along, the pacing is deliberate and just when you're ready to walk it sucks you back in.

Wilson, (looking remarkably like a young Dennis Hopper) is spellbinding: he projects an innocence and vulnerability that not only makes you forget he's a murderer, but leaves you feeling sorry for him. Garofalo meanwhile, is uncharacteristically bubbly, and has no dialogue that dwells on bitterness and self-loathing. Sheryl Crow and Dwight Yokum also turn in admirable appearances.

If you're looking for a change of pace from the Hollywood grind, this is a risk well worth taking.

Hampton Fancher is a brilliant writer and director. In The Minus Man, he has managed to accomplish several tasks that no one else has be able to do. He is the first director who has cast Janeane Garofalo in a role that reveals her immense sex appeal. Ms. Garofalo's character, Ferrin displays a full range of emotions and despite her obvivous personal demons, she is a beam of light in a rather dark and disturbing film. Owen Wilson is magnificant as the quirky, unassuming vagabond killer machine, Van. Much of the movie is told by Van's narration. We are made to sympathize with his obvivious moral confusion. The scene with Van and Ferrin are touching, sweet and spooky. Mr. Fancher's fantastic film is further enhanced by the presence of Mercedes Reuhl and Brian cox as the landlords who rents Van a room. Ms. reuhl is allowed to be troubled and complex and still maintain her smouldering, mature sexuality while Mr. Cox is still engaging despite his David Lynchian psychotic episodes. This director even manages to makes Van's truck and the sun-drenched, westcoast beachscape a character in the film. A must-see!

Hampton Fancher's The Minus Man is a methodical, chilling excursion into the mind of a serial killer. Not much different from the better known Henry: Portrait of a serial killer, this movie is not a comfortable motion picture to sit through. The lack of overt violence and gore deepens the sense of unease. Watching Vann's tale unfold, we should be gripped by revulsion; instead, there's a strange fascination. Like Henry this movie takes us into an alien world and strands us there for a little while by way of showing things from the killer's point of view. This movie may not invite emotional participation, but it gives its audience much to ponder.

"A person's brain is like a pet- sometimes it gets loose, sometimes it gets lost, sometimes it sort of behaves itself and stays in the yard."

This film isn't a mystery in the sense of a whodunnit, it's more of an examination of the mystery and strangeness of people, and the minutely strange things we do. Hampton Francher tows a taut line of existential inquest. This film defies categorization and really does get the gears turning by creating a complete world with an unrelentingly quiet unease. This film is what I'd call a mirror film, it's uninflected and amoral, so the ultimate interpretation is left to us.