Willard

The 2003 psychological thriller film, Willard, is a unique exploration of humanity’s darker side, starring Crispin Glover in the titular role. Directed by Glen Morgan and based on Stephen Gilbert's novel Ratman's Notebooks, this remake of the 1971 film of the same name takes the audiences on an eerie journey packed with gripping tension and unexpected turns, painting a portrait of a man's descent into madness.

The movie follows the life of Willard Stiles (Crispin Glover), a socially awkward, put-upon and introverted young man who resides with his domineering and cruel mother (Jackie Burroughs) in an antique, run-down mansion. Unlike the popular, cheerful socialite characters often seen in Hollywood, Willard sits on the extreme periphery of societal norms. He is burdened by his mother's expectations and a multitude of other pressures that the more conventional working-class deal with - a monotonous 9-5 job, a boss who despises him, and a dreary existence that offers little in comfort or joy for him.

However, his life takes a drastic turn when he befriends a group of rats inhabiting his dilapidated home, fortuitously discovering an unusual ability to connect and control these creatures. Feeding and befriending these rodents soon becomes his only solace.

Among the rat horde, two rodents stand out. Socrates, a tamed and friendly rat who becomes Willard's confidante, and Ben, a colossal, intimidating rat that seems to share the same animosity towards humanity as Willard. The relationship between Willard and these creatures offers viewers an unconventional look at companionship and friendship, creating an unsettling but oddly charming dynamic rarely seen in cinema.

Crispin Glover shines as the namesake protagonist, bringing a neurotic intensity to the role. His acting prowess shines through, as he adds layers of nuance and complexity to the character of Willard, alongside his odd fascination, which keeps you engaged in his journey. Glover does an admirable job of portraying both Willard's fragility and dawning boldness, evoking empathy and trepidation in equal measures.

R. Lee Ermey, known for his stern military roles, is unyielding as Willard's overtly cruel boss, Frank Martin. His performance adds a level of antagonism that fires up the film's conflict, ultimately propelling Willard towards his dark path. Laura Harring, playing the compassionate office worker, Cathryn, gives an empathetic performance, highlighting the stark contrast between her kindness and the disregard Willard experiences from the world at large.

As a horror movie, Willard isn't jam-packed with jump scares or gruesome visuals. Instead, it relies heavily on psychological tension and a creeping sense of impending disaster that is built meticulously throughout the film. The movie's primary crux, the relationship between Willard and the rats, is crafted with masterful dread, enhanced by the atmospheric cinematography and an eerie, resonating music score.

The film's unique combination of a gothic aesthetic, the old, foreboding Stiles house, and a contemporary setting add to its appeal. The choice to feature rats as a symbolic representation plays as a metaphor for Willard––roaming in the shadow, forgotten and devalued by society. These elements together provide a refreshing twist to the psychological thriller genre, setting it apart in a league of its own.

Equally unnerving and sad, Willard delves into themes of solitude, revenge, and the dire consequences of pent-up resentment. Using the surreal premise of a man befriending and controlling an army of rats, the film explores the dark depths of human insanity, whilst providing an unconventional and deeply unsettling watch.

Conclusively, Willard is a film that may not cater to all tastes, but it is an absolute treat for audiences who appreciate offbeat thrillers – it is a distinct brand of melancholic horror, told through masterful storytelling and gripping performances. As a film that explores a character's descent into madness with such unconventional companions, it provides a chilling insight into suppressed aggression and resentment, while equally serving horror and thrills.