‘Islands’ Review: Sam Riley and Stacy Martin in a Sun-Soaked Noir That Lets Its Tension Slacken in the Closing Stretch

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The opening sequences of the film “Islands” evoke a sense reminiscent of a James M. Cain novel, specifically a dark and sultry noir genre. This time, however, it’s set against the backdrop of steamy subtropical heat and piercing sunlight. A tennis coach seeking solace while employed at a high-end Canary Islands resort becomes ensnared by a strikingly familiar, beautiful guest, whose husband seems to be asking for trouble. As you watch Sam Riley portray Tom, the tantalizing idea that he could embody Fred MacMurray in “Double Indemnity” or John Garfield in “The Postman Always Rings Twice ” arises, but as the story unfolds and transitions into a psychodrama, this initial impression seems more like a clever red herring.

The debut English film by German director Jan-Ole Gerster continues to captivate audiences with a subtle yet impactful resolution. It thrives on powerful performances from Riley and Stacy Martin, its evocative backdrop, and the familiar allure of films within the troubled vacation genre. However, running for two hours, Islands overstays its visit, resulting in a prolonged ending that lets some of the tension dissipate.

Jan-Ole Gerster’s first English film, called Islands, is still very interesting and ends well, but it’s too long at two hours. The last part drags on, reducing some of the tension. It stars Riley and Stacy Martin, is set in a captivating location, and falls under the category of films about troubled vacations.

Tom, a British resident known for his less-than-sober lifestyle, spends his days instructing tennis on the hotel courts of Fuerteventura and his nights partying at the dance club Waikiki, where he often mingles with tourists, sometimes waking up in sand the next morning. His tardiness for court appointments is a common occurrence, and his disheveled appearance suggests this pattern has been ongoing, with each day seeming to blend into the next without much differentiation.

In my gaming world, I’ve grown so engrossed that even the tug of reality feels like just another level I haven’t conquered yet. Yet, the rumbling from Lanzarote’s volcano and the elusive camel on Raik (Ahmed Boulane) and Amina (Fatima Adoum)’s farm seem like ominous clues hinting it’s time to advance to a new stage. Just like those persistent game bosses, they won’t let me rest until I face them head-on.

However, as Tom seems to be heading towards burnout, his haze is broken by the unexpected arrival of Anne Maguire (Martin) at the hotel. She arranges tennis lessons for her 7-year-old son Anton (Dylan Torrell), and even offers to pay twice the usual rate when the coach mentions he’s fully booked. Tom can’t shake off the feeling that he’s encountered Anne before.

Dave, Anne’s husband (known as Jark Farthing), is one of those smooth-talking, overly competitive individuals who seems perfectly suited for characters in shows like The White Lotus. Anne doesn’t try to conceal her annoyance towards him. However, when Tom steps in with his acquaintance Maria (Bruna Cusí) at the hotel reception to rectify an issue with their room, they graciously invite him for dinner.

On his rare break from his usual schedule and his tendency to keep his distance, Tom surprisingly invites them for a scenic drive around the island. The journey commences by exploring mysterious volcanic tunnels and later leads to the beach, where Dave strolls off, vaping, while Anne playfully requests Tom to apply sunscreen on her back in a move reminiscent of a classic charmer.

After Anton rides a camel and arrives at Raik and Amina’s farm, they all share dinner together. It is revealed that Tom got his nickname “Ace” because he outperformed Rafael Nadal on the court when he stood in for the tennis champion’s training partner. Later in the evening, everyone gathers on the guests’ terrace for a nightcap. However, Tom becomes uneasy as the strains in their marriage become apparent, particularly concerning their difficulties in having a second child. Despite this, Dave persuades Tom to stay longer even after Anne retires to bed.

Dave proposes a casual get-together with Tom at Waikiki, hinting at his admiration for Tom’s independence and lack of family obligations. However, what was initially meant to be just one drink soon escalates as Dave, who claims to have been sober for years, begins consuming vodka excessively and vanishes into the crowded dancefloor, searching for surfer women.

The next morning, Tom finds himself groggily awake on a sun lounger by the hotel pool, still in his usual hungover state, as Anne informs him that Dave didn’t return to their shared suite. Their efforts to locate him prove fruitless, leading them to approach Tom’s police acquaintance, Jorge (Pep Ambròs). He shares that there has been no trace of Dave at the local hospitals. As the hours pass and Dave remains missing, a sharp-eyed detective named Mazo (Ramiro Blas) intervenes, interrogating both Anne and Tom as possible suspects and uncovering discrepancies in Anne’s narrative of the previous night’s happenings.

Gerster’s narrative approach subtly infuses a playful mystery, transforming it into an almost thrilling character exploration. This transformation is aided by Dascha Dauenhauer’s suspenseful score and Juan Sarmiento G.’s moody cinematography, creating a sense of detachment at times as scenes appear to unfold from a blurry distance. The setting plays a significant role, instilling tension with atmospheric elements such as the ominous roar of the Atlantic Ocean’s crashing waves.

It’s satisfying to observe Riley, who hadn’t previously had a role as captivating as Ian Curtis in the biographical drama ‘Control’, stepping into a leading position. With his gangly build and weathered appearance, he imbues Tom with a melancholic air of resignation, defeat, and exhaustion. Yet, Riley subtly suggests longing for something beyond this state, leaving it uncertain at the end whether he will break free or succumb once more.

As I follow Martin, Anne’s mysterious allure leaves me in her wake. Despite feeling unsettled, I can’t help but be drawn in, as her actions grow increasingly unlike those of a woman whose husband is presumed dead, his belongings discovered near treacherous ocean cliffs. The actors skillfully portray the simmering attraction between them.

Gerster holds back a few surprises, but he’s overly cautious about disclosing them, resulting in excessive foreshadowing that makes Tom’s revelation after meeting Anne and Anton predictable. However, the film concludes with a somber tone of introspection that lingers, suggesting a deep psychological drama in the well-performed and directed movie “Islands.” With some tightening up during editing, this hidden depth could be more fully realized.

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2025-02-17 00:54