It's noteworthy that this is the first full-length feature written and directed by actor Avan Jogia. Whatever else is true of the film I think Jogia deserves credit just for taking that step; if it comes off well then it speaks even more highly of them, and if it doesn't, then may we extend best wishes that they grow in their skills and find more success in the future. Thankfully, whatever the precise level of quality, I think we quickly see that 'Door Mouse' represents higher value than not. As the plot picks up it comes across as a wonderfully wry revision of neo-noir: a little punk and a little downbeat, a little indie quirky and a lot creative offbeat, all while centering not a professional investigator but a burlesque dancer and comic artist who gets drawn into seedy parts of town and dirty business while trying to figure out what's been going down. Jogia takes familiar flavors and swirls them together into an unlikely original blend in conjuring his full-length directorial debut, and I'd be plainly lying if I said it weren't fun and interesting. I'm not saying it's a major must-see, but I think this is pretty great!
As the plot thickens the writing shows itself to be full of ideas that any fans of the root genre should recognize. The protagonist narrates and provides her thoughts while navigating an existence of drudgery and delving deeper into dark, moody events; themes emerge of class, exploitation, manipulation, corruption, and conspiracy on top of crime; some characters are helpful, others are dubious, and some need a bit of pressure. To this add unique touches of punk (and post-punk) music, comic book-style illustration and animation, and a cast of primary characters who the more modern and relatable variations on classic noir archetypes, including a protagonist who is a young woman instead of a man, and moreover a young woman of color. Jogia's dialogue is just as smart as the character writing, at once claiming identifiable origins and staking new ground of its own. The tale is pointedly dour, and the rich scene writing reveals both more bits and pieces about our figures and more nefarious steps along the path to terrible revelations. As one may well expect of neo-noir in 2023, current sensibilities of film-making and storytelling allow the saga here to be even more harsh and disturbing than we commonly saw in past eras; if anything the premise and promotional artwork belie the depths to which this trudges, and it could only be nastier if it were more explicit in terms of sex, nudity, and blood.
Despite how very glum the picture is, by and large I think this is terrifically well made. I'm not saying that it's wholly unassailable, for there are times when the writing or direction get a tad heavy-handed (especially in the adoption of genre styling), and there's a measure of restraint that to some extent diminishes the understated vibrancy this could claim. The reveal we get about one major supporting character is also safely predictable. Yet the narrative is grim and compelling, Jogia's direction is firm and admirable in drawing out all the stark vitality of each beat and idea, and all others on hand turned in fantastic work across the board. Even with the subdued tone I'm very pleased with the cast, and I think all on hand give superb performances of controlled nuance and emotional depth. Some actors here are forced into a smaller corner than others, whether in terms of tone or screen time; Keith Powers is surely an example of the former, and Elizabeth Saunders of the latter. Even so I commend them all, and among others, it's always a pleasure to see Famke Janssen, who provides a bit of an anchor point; above all, Hayley Law is a low-key joy as protagonist Mouse, ably commanding a role that requires small but definite presence, and attitude hidden behind a "mousy" exterior. Based just on her performance here I'd quite like to check out more of Law's credits, and I think that's about as swell as a compliment can get.
And by all means, all those behind the scenes made fine contributions. The illustrations and animation are excellent; I highly appreciate the noir-ready aesthetics that are borne out through facets like the splendid filming locations, sharp art direction, and shrewd lighting. The fetching costume design, hair, and makeup add to those elements by reflecting the punk vibe heard on the soundtrack and seen in the characters. I could do with some more outright tension in Ketan Jogia's score, but it still adds ably to the mood at any point; from stunts and effects to cinematography and editing, everything here looks and sounds good. The core of 'Door Mouse' remains the writing, however, and I'm very happy with how solid Jogia's screenplay is, downcast but very enjoyable as we want out of cinema. The sum total of all this is a title that plays in a tried and true space, yet adds hearty helpings of its own vintage to fashion something fresh and tantalizing. As a matter of personal preference this won't appeal to all, yet I sat to watch with mixed expectations, and those expectations have been handily exceeded. In every capacity this is all so well crafted, and the viewing experience is engrossing and satisfying from start to finish. For my part I really like this, and I'd have no qualms in recommending it to just about anyone. Don't necessarily go out of your way for it, but if you have the chance to watch, in my opinion 'Door Mouse' is a good time and well worth checking out!
As the plot thickens the writing shows itself to be full of ideas that any fans of the root genre should recognize. The protagonist narrates and provides her thoughts while navigating an existence of drudgery and delving deeper into dark, moody events; themes emerge of class, exploitation, manipulation, corruption, and conspiracy on top of crime; some characters are helpful, others are dubious, and some need a bit of pressure. To this add unique touches of punk (and post-punk) music, comic book-style illustration and animation, and a cast of primary characters who the more modern and relatable variations on classic noir archetypes, including a protagonist who is a young woman instead of a man, and moreover a young woman of color. Jogia's dialogue is just as smart as the character writing, at once claiming identifiable origins and staking new ground of its own. The tale is pointedly dour, and the rich scene writing reveals both more bits and pieces about our figures and more nefarious steps along the path to terrible revelations. As one may well expect of neo-noir in 2023, current sensibilities of film-making and storytelling allow the saga here to be even more harsh and disturbing than we commonly saw in past eras; if anything the premise and promotional artwork belie the depths to which this trudges, and it could only be nastier if it were more explicit in terms of sex, nudity, and blood.
Despite how very glum the picture is, by and large I think this is terrifically well made. I'm not saying that it's wholly unassailable, for there are times when the writing or direction get a tad heavy-handed (especially in the adoption of genre styling), and there's a measure of restraint that to some extent diminishes the understated vibrancy this could claim. The reveal we get about one major supporting character is also safely predictable. Yet the narrative is grim and compelling, Jogia's direction is firm and admirable in drawing out all the stark vitality of each beat and idea, and all others on hand turned in fantastic work across the board. Even with the subdued tone I'm very pleased with the cast, and I think all on hand give superb performances of controlled nuance and emotional depth. Some actors here are forced into a smaller corner than others, whether in terms of tone or screen time; Keith Powers is surely an example of the former, and Elizabeth Saunders of the latter. Even so I commend them all, and among others, it's always a pleasure to see Famke Janssen, who provides a bit of an anchor point; above all, Hayley Law is a low-key joy as protagonist Mouse, ably commanding a role that requires small but definite presence, and attitude hidden behind a "mousy" exterior. Based just on her performance here I'd quite like to check out more of Law's credits, and I think that's about as swell as a compliment can get.
And by all means, all those behind the scenes made fine contributions. The illustrations and animation are excellent; I highly appreciate the noir-ready aesthetics that are borne out through facets like the splendid filming locations, sharp art direction, and shrewd lighting. The fetching costume design, hair, and makeup add to those elements by reflecting the punk vibe heard on the soundtrack and seen in the characters. I could do with some more outright tension in Ketan Jogia's score, but it still adds ably to the mood at any point; from stunts and effects to cinematography and editing, everything here looks and sounds good. The core of 'Door Mouse' remains the writing, however, and I'm very happy with how solid Jogia's screenplay is, downcast but very enjoyable as we want out of cinema. The sum total of all this is a title that plays in a tried and true space, yet adds hearty helpings of its own vintage to fashion something fresh and tantalizing. As a matter of personal preference this won't appeal to all, yet I sat to watch with mixed expectations, and those expectations have been handily exceeded. In every capacity this is all so well crafted, and the viewing experience is engrossing and satisfying from start to finish. For my part I really like this, and I'd have no qualms in recommending it to just about anyone. Don't necessarily go out of your way for it, but if you have the chance to watch, in my opinion 'Door Mouse' is a good time and well worth checking out!