A Cure for Wellness (2016)

Directed by: Gore Verbinski | 141 minutes | drama, fantasy, horror, science fiction, thriller | Actors: Dane DeHaan, Jason Isaacs, Mia Goth, Ivo Nandi, Adrian Schiller, Celia Imrie, Harry Groener, Tomas Norström, Ashok Mandanna, Magnus Krepper, Peter Benedict, Michael Mendl, Maggie Steed, Craig Wroe, David Bishins, Lisa Banes, Carl Lumbly, Tom Flynn, Eric Todd, Jason Babinsky, Johannes Krisch

The young and ambitious Lockhart (Dane DeHaan) wants to move up the ladder at the large Wall Street firm where he works. After his latest promotion, he receives an unusual request from the board of directors: to pick up their fellow director Pembroke (Harry Groener) from an exclusive spa in Switzerland. Lockhart takes it with both hands, if only because the board members behind Lockhart’s book tampering — and his fate at the company hinges on his success. From the tone of a letter from Pembroke to the board, he seems to have gone crazy and the board is looking for a scapegoat. Ideal for them and for Lockhart so an extra motivation to do his best.

Once arrived at the Swiss castle, it turns out that nothing is as it seems and that leaving the spa is not as easy as he initially thinks. When the taxi transporting him from the spa crashes after an unfortunate collision with a deer, Lockhart ends up back in the castle with a broken leg. His exploration leads to horrific discoveries about the (supernatural) history of the spa, which mainly revolves around a 19th century baron who was obsessed with his wife’s health.

‘A Cure for Wellness’ is a not quite successful mix of mystery thriller, atmospheric horror and a few gore and awkward scenes. The film is at its strongest as DeHaan tries to unravel the mystery and, in his search for Pembroke, he slowly but surely discovers what lies behind the superficial bliss and tranquility of the patients. Especially if the mystery is only magnified at first. Director Volmer (Jason Isaacs) is very friendly, but under his velvet voice (with a German accent) the iron fist is soon palpable. The other staff members and some patients are all behaving a little strangely – something that patient Victoria (Celia Imrie) is also starting to notice. Meanwhile, Lockhart becomes fascinated by the young orphan girl Hannah (Mia Goth) whom Volmer has taken care of.

The comparison with other (and better) films is obvious, with Scorsese’s ‘Shutter Island’ standing out the most. If only because DeHaan is somewhat like Leonardo DiCaprio and the plot in the first half has similarities. Borrowing from various strong elements from other films and mixing them together creates some strong moments, but not into a harmonious whole. That sometimes there is a change of style, tempo or genre per scene could have been a strength, but here works to the disadvantage of the film because the makers fail to find the right tone. Anyone who is horrified by slippery eels or who will soon have to go to the dentist would do well to skip ‘A Cure for Wellness’ for a while.

The film has a much too long running time of 2.5 hours – which could have easily been cut by half an hour – and lacks a strong main character. That is partly due to DeHaan’s phlegmatic play. By nature, he has a rather drawn-out look, his character has few sympathetic qualities and the apathetic way in which he wanders through the castle corridors makes it difficult to really empathize with him. Goth gives him better counterplay than Hannah, the mysterious girl who balances on the edge of child and wife.

Despite the flaws, however, the film is original enough to stand on its own two feet, with director Gore Verbinski pulling out his visual registers. The film looks stylistically beautiful – with great attention to even the smallest details. Although the film is set in Switzerland, Hohenzollern Castle in the German state of Baden-Württemberg served as the dramatic backdrop. The Hohenzollerns were once the most powerful family in Germany and supplied all the emperors, though none of them ever lived in the castle itself. The castle also plays an important role with its underground tunnel system, endless rows of treatment rooms and its “verboten” departments. It all looks fantastic thanks to the camera work – supported by the atmospheric music. You see the denouement coming in the last half for a while and then it is still quite a long sit despite all the visual splendor.

‘A Cure for Wellness’ has enough elements to make it a thrilling and disruptive film and it often is – but the parts just don’t want to click together smoothly.