Reviewed: Compliance directed by Craig Zobel

Ann Dowd, Dreama Walker and Pat Healy star in this unsettling indie thriller.

Every time there is a column or survey which concludes that the world no longer needs its critics, I feel a little less at home in the world. I make use of criticism all the time. Aviator longa, vita brevis, I always say. Or at least I will now.

Compliance, by Craig Zobel, is a film about a prank phone call made to a fast food restaurant. The caller claims to be a police officer, and instructs the store manager Sandra (Ann Dowd) to strip-search a young female employee (Dreama Walker) whom he claims stole money from a customer. Eager to please, Sandra – by a long stretch the most nuanced character in the film – is compliant. She forces the young cashier to undress and confiscates her clothes. When “Officer Daniels” asks her to draft in her half-drunk fiancée, she conforms again. The victim falls silent. The inevitable catastrophe is set it motion.

Compliance repeatedly flaunts its authenticity. The preamble reminds us of the experiments by Stanley Milgrim, who aimed to provide objective confirmation that human beings will inflict horrors upon their neighbours when instructed to do so by a figure of authority. “INSPIRED BY REAL EVENTS” flashes across the screen. Zobel establishes a believable setting and collection of characters amid the smoke and grease of a fast food chain, then proceeds to stretch that credulity across 90 unsettling minutes.

As Sandra becomes instrumental in the captivity, strip-search, degradation and eventual assault of the 19-year-old Becky, it becomes clear the film is less interested in locating culpability, and more in the tedious destruction of a young woman's dignity. The narrative end game is clear from the trailer – or the first time our mystery caller uses one of many phone sex clichés: “What is she wearing right now … describe it to me”. Waiting for Godot was never this depressing. The question of culpability when all acting agents are – to some degree – compliant in the crime, identifies a grey area in jurisprudence and throws into relief our need to please authority, whatever the cost.

The problem lies with the execution. The film misfires. The undressing of Becky is made all the more excruciating due to the predictability of seeing a middle-aged men placed opposite a semi-virginal adolescent: “Pink is my new thing,” Becky explains to a colleague. Sadly, barely ten minutes are given over to exploring the moral and legal complexity of the crime. Other than the visual triggers which suggest the caller could be anyone – the “Dad” mug on his desk, the suburban kitchenette – we learn nothing of his deeper motives.

As press junkets go, only Bruce Willis and Kathryn Bigelow have had less fun than Zobel during the last six months. Half of the six-hundred-person audience at the London Film Festival walked out of the film. Time called it “Sundance torture porn”. When Simon Mayo asked Zobel why his leading lady had to be so "statuesque", he fumbled. “I don’t really understand that note,” he said. “I tried to cast the very best actor”.

Cinema works by capturing images and manipulating the audience's gaze. It is both an art form and an industry: a medium with degrees of exploitation at its core. Mid-way through Compliance the prank caller tells Becky she needs to become like an actress, and do exactly as she is directed. As I ditched my ticket stub and headed into the cold, the irony was not lost on me. Few films make clearer the ugly side of what they do.

Dreama Walker as Becky in Craig Zobel's Compliance.

Philip Maughan is a freelance writer in Berlin and a former Assistant Editor at the New Statesman.

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Marvel has moved past the post-credits teaser, and it's all the better for it

Individual stories are suddenly taking precedence over franchise building.

The lasting contribution of 2008’s Iron Man to contemporary cinema comes not from the content of the film itself, but in its Avengers-teasing post-credits scene featuring an eyepatch-sporting Samuel L. Jackson. While post-credits scenes were not invented by Marvel, their widespread adoption in other blockbusters is a testament to Marvel using them to titillate and frustrate.

Fast forward nine years and Marvel’s direction has significantly altered. Having moved to a three-film-a-year structure ahead of next year’s climactic Infinity War, their two releases this summer have featured less explicit connective tissue, using post-credits scenes that are, in typical Marvel fashion, self-reflexive and fun – but this time with no teases for films to come.

Where previous Marvel Cinematic Universe (MCU) films have trailed characters donning superhero mantles, confrontations to come, or more light-hearted team ups, Guardians of the Galaxy Vol. 2 decided to lovingly poke fun at Marvel grandmaster Stan Lee, leaving him stranded on a godforsaken space rock in the outer reaches of the stars. Spider-Man: Meanwhile Homecoming targeted filmgoers who had stayed until the end in expectation of a tease, only to receive a Captain America educational video on the virtues of “patience”.

That isn’t to say that connective tissue isn’t there. Marvel seems to be pursuing world building not through post-credits stingers, but through plot and character. In the past, teasing how awful big bad Thanos is ahead of the Avengers battling him in Infinity War would have been done through a menacing post-credits scene, as in both Avengers films to date. Instead Guardians of the Galaxy Vol. 2 uses character as a tool to explore the world at large.

Nebula’s seething rage is, rather than just a weak excuse for an antagonist’s arc, actually grounded in character, explaining to Sean Gunn’s loveable space pirate Kraglin that Thanos would pit his daughters, her and Gamora, against each other, and replace a part of her body with machine each time she failed – and she failed every time. It’s effective. Thanos’ menace is developed, and you feel sympathy for Nebula, something Marvel has historically failed to do well for its antagnoists. Her parting promise – to kill her father – not only foreshadows the events of Infinity War, but also hints at the conclusion of a fully formed arc for her character.

In the high-school-set Spider-Man: Homecoming, the stakes quite rightly feel smaller. The inexperienced wall-crawler gets his chance to save the day not with the galaxy at risk, but with an equipment shipment owned by Iron Man alter-ego and billionaire inventor Tony Stark hanging in the balance. While such a clear metaphor for widespread change in the MCU might be a little on the nose, the set-up is effective at plaing the film at street level while also hinting at overall changes to the structure of the universe.

Stark gifting Peter a new (and oh so shiny) suit is a key set piece at the end of the film, whereas in 2015's Ant-Man’s Hope Pym inheriting her mother’s own miniaturising suit it is relegated to a teaser. Peter’s decision to turn it down not only completes Peter’s transition past seeking the approval of Stark’s unwitting father figure, but it also leaves the Avengers in an as-yet unknown state, still fragmented and incomplete after the events of 2016’s Civil War. To anticipate Spider-Man joining the Avengers proper is to anticipate the forming of the team as a whole – keeping our collective breath held until we stump up for tickets to Infinity War.

With this happy marriage of the macro and the micro, individual stories are suddenly taking precedence in the MCU, rather than being lost in the rush to signpost the foundations for the next instalment in the franchise. It’s a refreshingly filmic approach, and one which is long overdue. To suggest that Marvel is hesitant to overinflate Infinity War too early is supported by their refusal to share the footage of the film screened to audiences at the D23 and San Diego Comic Con events in recent weeks. Instead, the limelight is staying firmly on this November’s Thor: Ragnarok, and next February’s Black Panther.

Stan Lee, at the end of his Guardians of the Galaxy Vol. 2 post credits scene, cries, “I’ve got so many more stories to tell!”, a hopeful counterpoint to a weary Captain America asking “How many more of these are there?” at the end of Homecoming. With Disney having planned-out new MCU releases all the way into 2020, entries in the highest-grossing franchise of all time won’t slow any time soon. We can, at least, hope that they continue their recent trend of combining writerly craft with blockbuster bombast. While the resulting lack of gratuitousness in Marvel’s storytelling might frustrate in the short term, fans would do well to bear in mind Captain America’s call for patience.