HAUNTED HEART (2024) review

written by: Rylend Grant and Fernando Trueba
produced by: Fenia Cossovitsa, Dago García, Cristina Huete, and Fernando Trueba
directed by: Fernando Trueba
rated: not rated
runtime: 128 min.
U.S. release date: September 27, 2024 (theater/VOD)

The trailer for “Haunted Heart” makes the film out to be the kind of neo-noir thriller released in the early 90s. Its Greek island setting also makes the film one of those “destination projects” where all involved decided it would be an excellent excuse to visit the idyllic location. There’s nothing wrong with that approach. It’s a great idea. However, like any film, its success comes down to the screenplay. The story here, directed by Fernando Trueba (winner of the Best Foreign Language Film Oscar back in 1992 for his comedy “Belle Époque”), who co-wrote with Rylend Grant, has an intriguing and inviting set-up that unfortunately falters into formulaic patterns with odd behavior patterns, and dialogue that mostly seems unnatural and unintentionally silly.

Set on a beautiful remote island in Greece, “Haunted Heart” introduces us to Alex (Aida Folch), a young Spanish woman who arrives a week late for her job as a hostess at a quaint seaside restaurant. The owner, Max Webster (Matt Dillon), informs her the job has been filled by Dimitri (Polydoros Vogiatzis), and despite (or perhaps because of) her pleas and excuses, he offers her a server position. She takes the job primarily because she has nowhere else to go and, in doing so, becomes acquainted with the rest of the staff, which includes the charming Chico (Juan Pablo Urrego).

The outgoing and pleasant Alex quickly moves from intrigued to attracted to the reclusive and moody Max. He’s initially kind to Alex, offering her a flat on the mainland to help her settle, but apart from being a handsome older guy, nothing apparent or out of the ordinary would attract Alex. Nevertheless, she pursues him. Perhaps she’s into mysterious dudes like some who take in stray dogs, or maybe she’s color-blind and cannot see red flags.

As months pass, Alex inevitably develops a romantic relationship with Max despite some obvious red flags that are apparent to any viewer. He’s hesitant initially, but she’s an attractive opposite: young, spirited, and positive, so there’s an understandable draw there. At the same time, Alex is also developing a friendship with Chico, someone who’s more on her wavelength. Early on, Chico shares with Alex, “No one knows Max,” referring to how closed-off the introvert is, which should serve as a warning to Alex, but that seemingly increases her curiosity.

Concerned for her well-being and developing his feelings for Alex, Chico unearths some surprising information from Max’s past. At the same time, Alex also finds some info from his past that concerns her. Max shows signs of paranoia and becomes suspicious of Alex and Chico’s time together. Ignoring warnings and apparent signs, Alex finds herself trapped in this relationship despite her strong will, and their love story soon becomes a cautionary survival tale.

As screenwriters Grant and Trueba lean into familiar romantic thriller themes like jealousy and betrayal, there’s hope early on that a unique twist or two will be offered to add something new or different to the genre. Sadly, that’s not the case, as “Haunted Heart” is overwhelmed by frustrating behavior that forgoes common sense and offers unintentionally laughable lines between Alex and Max.

Most of their dialogue feels unnatural, unlike anything two people would say to one another. Early on, she utters lines like, “What do I have to do to get you to notice me?” which isn’t something anyone would come out and say. Later on, as Alex and Max sit together, he says, “Everything is nothing to me” (another red flag!), while she replies with, “Well, everything means everything to me.” Say what? You wouldn’t hear this kind of interaction in any decent noir screenplay. Those are just a few examples of the eye-rolling dialogue throughout the screenplay. I’m at a loss where you’d find such interaction in the real world, but maybe on an improv comedy stage.

Overall, there’s not much for us to go on regarding why these two are interested in each other. Alex should’ve gotten a clue early on and found another job on the mainland, maybe even stayed with Chico until she could afford her own place. As for Max, what about Alex makes him break the unspoken barrier he’s built around himself over the years? If someone got all hot and bothered after finding a photograph of me with a female companion and child from a previous life (like Alex did with Max) while snooping around my bookshelves, that’d be a dealbreaker. I’d probably break it off immediately. Alex also gets upset when she finds out (thanks to Chico) that Max was a jazz clarinetist a while back and even put out an album under an alias (or maybe that’s his real name – who cares?). Her behavior is a real head-scratcher. Did she expect him to go over his life story with her just because they’re now romantically involved? If so, maybe she should’ve had him complete a questionnaire before they got serious.

These are just a few of the many questions related to character motivations and behaviors that surface as “Haunted Heart” unfolds. There’s also a quick televised clip of the World Trade Centers getting attacked, which indicates the story is taking place in 2001. But, that’s the only indication of the year the film is set in, so it winds up leaving a big “Why?”

Despite some beautiful cinematography from Sergio Iván Castaño, it’s strange to see how this film falls apart. Folch and Dillon are good here, despite unconvincing chemistry and playing characters that offer viewers more questions than real engagement. There’s an attempt to pay homage to Hitchcock or Patricia Highsmith’s works, but director Trueba isn’t working from a compelling enough screenplay. Even if there were clever twists here, the way the two lead characters talk and behave will find viewers checking out early from this Greek paradise.

One upside as the film closes is Javier Mas and Sofia Cordoba’s great cover of Leonard Cohen’s “Alexandra Leaving.”

RATING: **