Product Description

A smart, charming teenage girl, Hayley probably shouldn't be going to a local coffee shop to meet Jeff, a 30-something fashion photographer she met on the Internet. But before she knows it, she's mixing drinks at Jeff's place and stripping for an impromptu photo shoot. It's Jeff's lucky night. But Hayley isn't as innocent as she looks, and the night takes a turn when she begins to impose a hard-hitting investigation on Jeff in an attempt to reveal his possibly scandalous past.

Product Details

• Amazon Sales Rank: #6123 in DVD
• Brand: Lions Gate
• Released on: 2006-09-19
• Rating: R (Restricted)
• Aspect ratio: 2.35:1
• Formats: Closed-captioned, Color, Dolby, DVD, Widescreen, NTSC
• Original language: English
• Subtitled in: English, Spanish
• Number of discs: 1
• Dimensions: 5.00 pounds
• Running time: 104 minutes

Features

• "Two Thumbs Up." - Ebert & Roeper A smart, charming teenage girl, Hayley probably shouldn't be going to a local coffee shop to meet Jeff, a 30-something fashion photographer she met on the Internet. But before she knows it, she's mixing drinks at Jeff's place and stripping for an impromptu photo shoot. It's Jeff's lucky night. But Hayley isn't as innocent as she looks, a

Amazon.com
The supercharged possibilities of a single set and two amped-up actors are explored in Hard Candy, a twisted cocktail with a poison kicker. After a flirtatious encounter in an online chat room, two people agree to meet for coffee: a 32-year-old man (Patrick Wilson) and a 14-year-old girl (Ellen Page). They quickly advance to his house, and just as quickly, the apparent pedophilic seduction morphs into something else entirely. After the tables turn, Hard Candy becomes a tale of revenge and torture that might have tempted a filmmaker like Park Chanwook. Here, first-time feature director David Slade opts for a slick look that stays close to the actors, and you can't really blame him--this movie is like a conceptual, more-than-slightly unbelievable off-Broadway play, a showcase for actors and "controversial" ideas. Those actors are strong: Patrick Wilson (Angels in America, Phantom of the Opera) is every bit as creepy as he needs to be, and Ellen Page has nothing short of a triumph. The Canadian actress was around 18 when she shot the film, but looks like an adolescent, which makes her authoritative wrath all the more shocking to witness. The provocations of Hard Candy sometimes seem arbitrary or forced, but Page's electrifying performance can't be denied, or dismissed. --Robert Horton

Customer Reviews

Riveting psychothriller
There are movies that haunt you and others that keep you guessing; there are horror flicks and daring mind-benders; there are suspense ridden narratives and atypical treaures: Hard candy is all of the above. The terrible intolerable need to continue watching absorbs and terrifies while you seem disturbed by a need to find a side to root for. The pedophile photographer who may have committed a homicide or the teenager who seems bent on revenge with such hatred you feel for her psychological statae of mind and her emotional integrity while admiring the psychological battle of wits that throws every trick in the book and seemingly confiscates the essence of every psychotic malady the rational rituals of desire have equipped human nature with. Ellen Page is too good to be true and so belligerent in her sympathetic role that you can't stand her. She does what no one at her age has ever been able to do, namely reconcile the taboo of social mores with a nefarious bristling candor that thwarts the desire to continue to watch. She is placed aface Patrick Wilson who performs the role of a pedophile with impenetrable guile and belated predatory pride. He runs the gamut of psycho games and betrays psychobabble while his counterpart frustrates his strategic acumen by outsmarting him to such an extent you wonder as he does: Who is this girl? It gets terrifyiing and tense in a swell of emotional callousness that dumbs the pity elusively ambling in a dialogue that is always disquieted by minds that forage a loot in every chance digression. It is shot with bestirring incision and lavish in its climactic rush. I do not think a movie could be shot with more intensity. Here we see the madness of psychology at its tenderest and it sickens but always concentrates on a suspenseful emotional heap that litters the intelligence of the two parties. Poker face after poker face we experience the insistence of insanity at its most gripping hold, but not the newspaper brand, here we have a mixture of hatred and desire controlled and fashioned by a shooting that ends with the incredible after the impossibly disgusting has been shaved a few times. This movie is an absolutely astonding psychological maze and a social commentary that undoes the sutures of a world where reason is used to abuse and torture, and where justice is a questionable prospect of soulless proportions. Wow.

I hated it, the best film of 2006
It's safe to say that before the release of the film I was basically foaming at the mouth in anticipation. I don't know what it was that drew me so strongly to it, but there was something about it that just wet my appetite for great cinema.

So, the week came when it was to be released, and Friday rolled around. I went to see it - and left utterly disappointed. I don't know what I expected from the film, from all the press I read I expected simple torture then an end to the film, but what I got, I later realized, was so much more.

The story, although topical to some degree, is at first glance a story of one person wanting to teach another a lesson about the "naughty" things they do, ALA Seven and Saw. But as the film unfolds the true faces are shown, and they're ugly. Ellen Page and Patrick Wilson turn in flawless performances, as they're the only main actors in the film, Sandra Oh plays a small, yet somewhat vital role, and then there's that one guy at the cafe.

The reason I detested this movie was for one simple reason - manipulation. NEVER in my life have I seen a film where my beliefs and feelings concerning the characters has shifted so furiously between one and the other. You sincerely believe that Jeff is an innocent man and that Haley is simply a sociopath. As the story unfolds, if you see the film in the same light as I did, by the end you'll be completely worn out, and left with a feeling of bleakness.

With most recent horror films focusing mainly on the gore aspect, and very little story, albeit one as complex as this, it was incredibly refreshing to see a horror/suspense film that was something that could just possibly top Hitchcock in his finest hour.

A true masterpiece.

A controversial film and an emergence of talented Ellen Page
The film directed by David Slade and written by Brian Nelson seems disturbing enough for just the subject matter alone, but it's also eerie in how timely it's release has been. With reports of teenage girls becoming victims of internet sexual predators appearing in all types of news media, Hard Candy arrives in the theaters through a limited release to highlight this current trend. Slade and Nelson has created an disturbing and, at times, a very uncomfortable film that shows the many twists and turns that happens when the roles of prey and predator become interchangeable.

There's no denying that Hard Candy aims to put a new twist on the exploitation subgenre of the rape-revenge films that dominated the late 70's and early 80's. Brian Nelson's clearly channeling the influences from such rape-revenge fantasy films like Mastrosimone's Extremities and the very disturbing and exploitive I Spit On Your Grave (Day of the Woman) by Meir Zarchi. From the beginning the audience is shown the set-up of an adult instant messenging another person with the screen name of Thonggrrl14. Thonggrrl14 is in fact a 14 year-old teenage girl named Hayley and the adult on the other end a 32 year-old photographer named Jeff who goes by the screen name Lensman319. Jeff has an unhealthy and disturbing penchant for pubescent girls as the subject of his camera lens.

From their first meeting meeting at a coffee house where Jeff gradually begins a flirtatious conversation with the young Hayley to the point in the first act when he finally convinces her to go back to his house whcih doubles as his studio. There's really no denying the sense of unease that permeates the first act as Hard Candy gradually paints Jeff as the sexual predator that he is. There's no denying the fact that a man of his age should not be flirting and behaving as if the girl across from him is a fully-grown and developed woman of similar age. Hayley also comes across during this first act like a teenage girl dazzled by an older man who treats her older than her real age. It's really a disturbing look at just how easily an adult can seduce a child into doing things they normally shouldn't be doing.

Hayley (played by young Canadian actor Ellen Page) soons shows just how wrong and mistaken Jeff has been in picking her as his new prey. I don't use that word loosely for that is what this film truly is when boiled down to its basic component. A one-on-one three-act play (Brian Nelson's experience as a playwright shows in the stage-like sequences from beginning to end) between a predator and prey. This time around the prey has turned out to be the one who has done the hunting and the consequences on the wanna-be predator that is Jeff leads to a slow and deliberate set-up that looks like something out of Takashi Miike's Audition. Hayley's turning the tables on her stalker shows that girls her age are intelligent enough to know that what Jeff is doing is wrong. Hayley's answer to that is to be the hunter instead and fix Jeff's "problem" through what she calls as "preventive maintenance." What she calls "preventive maintenance" is bound to cause many men in the audience to sit very uncomfortably and wince on more than once occassion.

The acting job done by Ellen Page (balancing her indie work here with a turn as Kitty Pride in the upcoming X3: The Last Stand) is dazzling and really shows her as an up and coming talent that needs to be watched. She was technically 15 year-old when the film was made and already she showed a keen grasp of the script which deals with disturbing topics. There's a scene in Jeff's car as they reach his home where a passing glance of the camera at her face shows not a gullible teenager, but a determined and somewhat oft-kiltered individual who knows what she will be doing in the coming hours will be medieval harsh but in her mind justified. Patrick Wilson (last seen as Raoul in The Phantom of the Opera)as Jeff plays the would-be sexual predator admirably. His range of emotions go from outright denials of Hayley's accusations to impotent rage and desperation as his fate is described to him in Miike-like detail by his teenage captor.

If there's a flaw to mar the intense and suffocating atmosphere this stage-like film creates it would be in the script itself. At times the Hayley character becomes a one-note individual whose beyond her years demeenor seemed to cold and rehearsed. I really can't put the blame for this on Ms. Page, but on the writer himself. It seems like Brian Nelson is trying too hard to add twist and turns on the story being told. He seems to enjoy overmuch his ability to tug back and forth on his audiences' emotional investment in the film and the two characters. He actually pulls off the trick of making the sexual predator earn the audiences' sympathy at what is about to be done to him. But instead of continuing on with that tangent and thus putting Hayley on a darker and more sinister light, Nelson backs off and pulls the audience back to wanting physical and emotional destruction to be visited on Jeff. Nelson used to much zig-zagging in making his script look more complicated than it ought to be. A rape-revenge film works best on its most simplest form.

The direction by David Slade (well-known as a music video director) is actually very subdued and deliberate in its pacing. Slade doesn't fall back onto his music video experience with unnecessary quick-cut editing that's plagued his music video director brethren. Slade manages to pull off a very Hitchcockian-style of directing by letting the stage and the actors speak for the scene without much bells and whistles to clutter things. There's a few sequences where he lets the camera film things through one long, continuous take thus adding a sense of realism to the situation developing inside Jeff's home. I was really impressed with Slade's work and looking forward to see what he intends to do to follow-up Hard Candy.

The use of too much twists and turns in the script notwithstanding, Hard Candy is a tour de force piece of suspenseful filmmaking that borders on the great psychological horror films of the 70's. In fact, the subject matter on the screen lends a sense of real horror to the film with its timely release and story. Any parent or adult who knows teenagers who use MySpace.com would think hard about wanting to know more of what their kids are doing on the net. Hard Candy can be brutal at times and almost suffocating at others with little or no levity to break the tension. It's a difficult film to sit through and probably won't be the type of films for some, but just watching the performance by Ellen Page is worthy of the price of a ticket. The subject matter is very adult and straddles the line of what constitute a rated R film and one strictly for adults only. Hard Candy definitely falls on the latter. 8.5/10.