The idea of what memory constitutes or the idea of trauma reflects in the psychology of a person and their experiences. This is the basis of “Fractured”. The beauty is some of the Netflix original films, whether acquired or not, is that they explore sometimes more character driven pieces that are based in a simple genre structures that don’t need a lot of set pieces but definitely reflect in production value and a proven actor. Sam Worthington, undeniably known as the lead in “Avatar” and its upcoming sequels, has leaned into these types of psychological genre thrillers on Netflix and found a nice niche in well written and well directed tomes that might have ended up with no distribution simply because they exist in the mid-range.
Directed by Brad Anderson, who made a more bleak but similar “Session 9” with David Caruso many years ago, the film “Fractured” exists in a realm of misperception where Worthington’s lead character arrives with his wife and daughter after an accident. However, after said wife and daughter are taken back for a CAT scan, they seemingly disappear. Worthington has always had a knack of playing paranoia as his film “Man On A Ledge” interpreted. “Fractured” at times plays more like a Hitchcock film or a “Twilight Zone” episode with a little less dread. The threads are fairly easy to follow and the violence not too overwhelming which makes for an interesting evening watch that is not too overcome by any ideals that it is trying to present.
The minimal locations and barrenness of the tundra that they are traveling across is completely reflective of the character’s mindset. The story is disjointed on purpose but the structural reflexivity does make the story move without bogging it down in too many mechanics. “Fractured” is a tight little genre thriller with understated performances but a steady idea of what it is and what it is trying to accomplish.
By Tim Wassberg
The texture of “Short Treks” in the Star Trek Universe allows for those short vignettes that allow us to see perceptions into more of the lives of perhaps those that have continued on in the night. The first of this new season: “Q&A” examined Spock’s first day as an ensign on Captain Pike’s Enterprise. With the second entry: “The Trouble With Edward” we are treated to the genesis of what caused the Tribbles to become what they did. In its treatment of this lore, it is half human error and half problem solving gone wrong. Pike’s head science officer (played in a nice homage by Alita’s Rosa Salazar) is given the captain’s spot on her own science ship which has to deal with a famine/starvation situation on a planet on the edge of Klingon space.
Everything seems to go wrong mostly because of the crewman who creates the Tribble trouble in the first place because of his stubbornness, ego and slight lack of talent. Archer voice H. Jon Benjamin is a perfect foil in this way since he doesn’t mind playing the depreciation because it works as a form of satire. Salazar is good but she can be much more fluid an actress in a different situation than this small journey allows but it is great to see her being given the opportunity overall. Ultimately, “The Trouble With Edward” is a nice little tome within the pantheon and definitely brings to bear the reproducing situation of these animals, especially when it is a funneled as a food source. As usual, the human condition creates the problem against its best wishes. Plus it is good to see flaws since not every crewman is perfect. The added bonus after the credits also shows the humor that sometimes is not allowed to shine through in such a specific way on an episodic show per se.
By Tim Wassberg