Review

Based on the off-Broadway play by Steppenwolf Theater actor and writer Tracy Letts, Bug uses dialogue and a claustrophobic atmosphere to present a relatively short, socially conscious allegory of psychological horror and paranoia in the Bush Administration’s America. It proves to be one of the most engrossing and well-executed films from director William Friedkin since The Exorcist and showcases extraordinarily brave and appropriately over-the-top performances from Ashley Judd and Michael Shannon - a frequently unrecognizable character actor who originated his role on stages in New York and London.

Judd plays Agnes, a haggard alcoholic waitress living in a drab motel room in the Oklahoma desert. She carries a heavy nervous energy. Her son went missing in a supermarket years prior and she begins receiving mysterious phone calls just after Goss (Harry Connick Jr.), her egomaniacally abusive husband, is released from prison. She finds much comfort after meeting and shacking up with Peter (Shannon), a sweet-natured veteran who shares a similarly hopeless outlook on life. As the two get to know each other, Agnes reveals the devastating sadness of her past. Peter, in return, informs her that he was used as a lab rat in experiments by the US government, is absent from his military duties without proper leave and is likely being sought by Army intelligence. He believes that the government has implanted near-microscopic aphids under his skin and that Agnes, through contact, is in an equal amount of danger.

Soon set into motion is a chain of drastic actions inspired by extreme paranoia and a desperate loneliness that is healed only by the fact that each gives validation to their many combined suspicions and fears. Culminating within the deepest levels of schizophrenia, Agnes and Peter turn her room into a safe haven using aluminum foil, antiseptic and precautionary self-mutilation. By the time the film reaches its disturbing final act, the pair will stop at nothing to protect one another from the malevolent authority figures that they believe are watching and waiting from just beyond the front door.

Audiences expecting the creepy crawly horror outing that Lions Gate Films offered through a somewhat manipulative and misleading marketing strategy are better off renting 2006’s Slither. Bug is, above all else, a character study and a remarkably thought-provoking one at that. Due to the unapologetically violent nature of the film and its late-May theatrical release, neither Judd nor Shannon is likely to receive Oscar® nominations, though countless statuettes have been awarded to actors for far less effort. Also notable in the only supporting roles are Connick Jr., Lynn Collins (The Merchant of Venice) and Brian F. O’Byrne (Million Dollar Baby).

 -- Robert O'Neill