Plot: What’s it about?
Sharon (Mimi Rogers) is bored with her life, as she has a dull as can be job and her life at home hasn’t always been that exciting. In order to break the boredom and add some spice to her life, she indulges in narcotics. The drugs dull her senses and help her escape her boring life, as well as put a little more punch in her personality. But when the drugs wear off, she is back in her dull home in her dull life. But she and her boyfriend Vic (Patrick Bauchau) have a second method of stimulation, one which takes them beyond the normal limits of a relationship. The two frequent numerous bars and other popular spots, looking for open minded couples who want some fun. The four then have wild sex, which is intense at the moment, but leaves no lasting impression. Soon however, her life takes a new direction, even without drugs and random sexual encounters. Her dreams are haunting and she learns her friends have the same ones, all of which leads to her to a child, who many claim is a true prophet. When she visits this prophet, he delivers some harsh news, as he claims the world is soon to come to an end. So Sharon quickly has a spirtual rebirth and begins a new life, with a new husband and even a young daughter. But as she begins to move closer to the edge in anticipation, is the end of the world close, or was she vulnerable because of her inner needs and latched on to the first available program?
This isn’t the usual brand of “end of the world” cinema, as the storyline isn’t about meteors, polar ice caps, or alien invasions. As the title suggests, this film’s take on the end of the world is more religious, not to mention more complex than a mere disaster flick. I’ve seen countless films on religion and the afterlife, but few work as well as The Rapture. That said, this is not a movie that zealots will embrace, as The Rapture is more about thought than devotion. So be prepared to think, as the film throws numerous situations at the audience that cycle the viewer through all of the emotional scale, then twists at the end in order to provoke even more introspection. In other words, this movie doesn’t run on the rails and offer a clean, clear conclusion. Instead, director Michael Tolkin (writer of Deep Impact, Changing Lanes) spins a wild picture that makes us mad, makes us sad, and makes us jubilant, but never pulls the strings too much. So in the end, you’ll have some things to ponder and discuss, not a common thing in modern cinema. I recommend seeing The Rapture with friends, as the discussions afterward are part of why The Rapture is such a good movie. Mimi Rogers (Ginger Snaps, Trees Lounge) turns in the performance of her career to boot, while the rest of the cast is also solid. The Rapture is a small movie that takes on the biggest questions in life and while it doesn’t provide answers, it does make us think about our own beliefs. Not an excellent, must see movie, but one that deserves an audience and is well recommended.
Video: How does it look?
The Rapture is presented in 1.85:1 anamorphic widescreen. As is usually the case with New Line, this is an excellent transfer and no real problems are present. The source print used is pristine, I saw no grain or debris in the last and as far as compression errors, I didn’t even see a trace of flaws. The colors range from a natural scope to richer hues, whichever the visuals need at that time, with minimal troubles in the process. I didn’t see any bleeds or such, while the flesh tones were warm and consistent also. No complaints with the contrast either, black levels are sharp and no detail loss is evident.
Audio: How does it sound?
New Line has given us both Dolby Digital and DTS surround options here, so audiphiles should be most pleased. This film isn’t the best choice as far as audio power, but I am glad such added effort was put into this release. The audio is mostly low key, as the movie relies on dialogue more than not, so the surrounds don’t have much to do. But the music sounds excellent and when needed, the small touches, such as background noises, come through quite well. So don’t look for power here, but the audio is enhanced thanks to New Line’s extra attention. I found both tracks to be about the same, but in a few scenes, the DTS had a tad more presence. This disc also includes a 2.0 surround option, as well as subtitles in English and Spanish.
Supplements: What are the extras?
This disc includes an insightful audio commentary track with director Michael Tolkin, as well as the film’s theatrical trailer.
