This Keanu Reeves Casting Decision (Still) Makes Zero Sense

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In the realm of numerous serial killer thrillers produced annually following “Seven” (1995), Director Joe Charbanic’s film “The Watcher” (2000) is one such production.

In this particular film, it’s unique because it features Keanu Reeves portraying a murderer and James Spader as an unwaveringly determined FBI agent who is set on apprehending him.

Charbanic’s single directorial effort doesn’t quite reach the level of catastrophe, yet manages to keep us engaged. However, it lacks unique elements that set it apart from countless other mediocre imitations of the “Seven” series.

In these films, Spader portrays a borderline law enforcer, hot on the heels of a ruthless killer named Griffin (Reeves), who uses piano wire to choke his female victims. Marisa Tomei takes on the role of Spader’s understanding police psychiatrist, later developing romantic feelings for him and, inevitably, becoming a target for Griffin.

Compared to the actual film, the lore surrounding “The Watcher” is far more captivating. If you watch the movie without knowing its complex past, chances are you’ll soon forget about it, swiftly move on, and struggle to remember having watched it just a few weeks later.

From another perspective, if you are aware of what Reeves experienced, the film seems like compelling proof, Exhibit A, in a significant crime investigation.

The first time I learned about the movie was when I saw a large advertisement for it in either Variety or The Hollywood Reporter. The image showed Keanu Reeves, with a ‘Matrix’-like demeanor, seemingly in a desperate sprint.

In late 1999, the working title for the movie that was in production was “Driven.” A year later, in 2000, the film was released under a new title, “The Watcher.” Interestingly, on its promotional materials, Keanu Reeves, who is the main attraction of the film, was listed third in the billing, after co-stars Spader and Tomei.

The star’s name also appeared in unusually small print.

Before the movie’s premiere, there were rumors that Keanu Reeves was in the film solely due to contractual obligations. However, it seems he wasn’t keen on experiencing what happened to Kim Basinger with “Boxing Helena” (where she faced a lawsuit for leaving the 1993 movie), so he didn’t want a similar fate.

About a year after, during an interview with The Guardian, the topic of “The Watcher” was broached. Notably relaxed, Reeves shared that with the passage of time, he was now able to talk about the movie.

As a passionate cinephile, I’ve come across an interesting piece of trivia. It seems Keanu Reeves himself wasn’t keen on taking on “The Watcher,” and felt uncomfortable with his cameo role being expanded. To make matters more intriguing, a friend of his forged his signature on the contract without his knowledge. Instead of challenging this deception, potentially facing the backlash and financial consequences that Michelle Pfeiffer experienced, he opted to appear in the movie.

If this news had broken before September 11, 2001, it could have caused even more commotion.

For a fortnight, “The Watcher” held the top spot at the American box office, indicating more Reeves’ drawing power at the ticket counter than the movie’s own earnings, which were modest during a sluggish September.

In the initial scene of the movie, Keanu Reeves performs an unusual dance around his on-screen victim, accompanied by intense Rob Zombie music. This scene might have been meant as a homage to “The Matrix,” but it seems more like an unexpected take that managed to end up in the final version, giving off a peculiar vibe.

The chase sequence is skillfully arranged, featuring real fireballs that stand out against the overly digital and unconvincing ones shown in the final moments.

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Spader excels at portraying characters teetering on a precarious edge, and he lends gravitas to a movie that significantly benefits from it. However, it’s not the predictable script that poses the main issue; rather, it’s Reeves who seems ill-suited for his part. Despite having a smile capable of being both endearing and intimidating, Reeves fails to convincingly convey the peril of his character.

Every decade or so, I find myself rewatching the film “The Watcher”. My reason for this is twofold: firstly, I’m intrigued to see if time has improved its quality, and secondly, there remains a strange allure in observing Keanu Reeves deliver a performance that was seemingly compelled of him.

No to the first question but a big yes to the latter.

In my opinion, there were instances, particularly when it was just Spader and Reeves on-screen, that hinted at a compelling narrative. However, these intriguing moments were often overshadowed by scenes marred by questionable decisions – dialogues that fell flat, excessive grainy slow motion, and an unfortunate choice of score by Marco Beltrami.

In “The Gift” (2000), Reeves’ terrifying portrayal is a testament to his acting abilities. However, his role in “The Watcher” seems to highlight the boundaries of his performance capabilities, suggesting that he excels when supported by strong material, direction, and circumstances.

The sole compensation for Reeves’ ordeal during the production and post-release of “The Watcher” is that only his most ardent followers will recall his comical and cringe-worthy appearance as he choked his victims with piano wire.

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2025-05-26 04:03