Brent Marchant
5
By Brent Marchant
Stories that allegorically address themes related to self-esteem, social acceptance and prejudice undoubtedly merit our attention, provided that they execute their narratives in discernable, cogent, relatable ways. Unfortunately, though, that’s where writer-director Aaron Schimberg’s third feature drops the ball. The film follows the strange saga of Edward Lemuel (Sebastian Stan), an aspiring New York actor afflicted with a severe skin disfigurement that has left his face overcome with tumorous growths. However, when he learns of a radical new medical treatment that offers the hope of a cure, he jumps at the chance. And, before long, after a series of incidents that bring graphic new meaning to the term “skin peel,” he’s left with a normal (and quite handsome) appearance. But, now that he has this new look, is it what he really wants for himself? Can he adjust to it and what it affords? This change thus prompts him to ask himself these questions when he starts getting all of the things he had once supposedly longed for, such as a beautiful romantic interest, Ingrid (Renate Reinsve), and a lead role in an off-Broadway play. He can’t help but quietly wonder, “Am I suddenly being accepted because of my appearance or because of who I am as an individual?” What’s more, was the reaction that he previously received from others as bad as he thought it was, or was his perception clouded by his own distorted views of himself? That becomes especially true when he meets Oswald (Adam Pearson), a cheery, well-adjusted individual who leads a successful, fulfilling life despite being affected by the same health condition Edward once had. Conceptually speaking, these issues are universal themes that many of us might ask ourselves from time to time, all of which ultimately stem back to our view of whether we see the glass of life being half full or half empty. However, when examined through this prism, these ideas are unnecessarily muddled here by a clumsy script that can’t make up its mind what kind of movie it wants to be. Is it smart horror? A dark comedy? A psychological thriller? As it’s presented, the film is a jumbled combination of the foregoing punctuated by awkward and abrupt transitions, undercooked character development, and underwhelming explorations of its core notions. Indeed, rather than confidently tackling its primary intents head on, the picture spends much of its time dancing around them (and often tripping over its own feet in the process), particularly with the incorporation of odd, out-of-place plot elements that serve more to confuse the flow of the story than to clarify it. In many ways, the finished product becomes much like the quirky, bombastic works of filmmakers Charlie Kaufman, Ari Aster or Darren Aronofsky, one that leans more toward the needless excesses of “The Substance” (2024) than the graceful eloquence of “The Elephant Man” (1980). To its credit, “A Different Man” frequently comes across better than it probably should thanks to the solid performances of Pearson, Reinsve and Golden Globe Award winner Stan. But, given the film’s many other shortcomings, that’s hardly enough to save this production from itself.
