You’ll want to get locked up with ‘Ghost’

      I say with utmost confidence that you’ve never seen a movie as unique as Joko Anwar’s “Ghost in the Cell.”  You name it, you’ve got it in this genre-twisting tale in which hardened prisoners eagerly partake in interpretive dance, name-drop Kierkegaard, unearth political corruption, battle powerful supernatural forces and vanquish a sadistic guard.

    Brimming with intense action, droll comedy, and unnerving terror, it’s a jaw-dropping, head-scratching blast that seldom loses its je ne sais quoi. From its brutally violent opening to its peaceful, easy ending, you remain firmly in Anwar’s zany grip. Some, I’m sure, will freak out over its gorier moments, of which there are many. But for those who value originality, this is the smart, tongue-in-cheek bloodbath you’ve long been itching to dip a toe in.

    Not only is it visually stunning, it also boasts a standout star turn by Abimana Aryasatya as Anggoro, the heart, brains and soul of a story meant not just to entertain, but also to propagate the notion that every soul on earth has a purpose. In Anggoro’s case, that would be to unite the prison’s two lowliest factions in ridding the hoosegow of an evil spirit that is killing off the general population with impunity.

    And what a kick it is to learn that the only way to accomplish this exorcism is to convince the rogue’s gallery of killers and thieves to expunge their inherent anger and hostility through prayer or, yes, dance. The latter sets the stage for a side-splitting scene in which two dozen inmates try to learn Madonna-like gyrations, hoping to generate enough joy to scare off the demons.

    It’s matched only by a terrific bit in which Anggoro and his chief nemesis, the sadistic head guard Jefry (Bront Palarae), embark on a heated debate over the merits of Alfred Adler versus Sigmund Freud. It’s the sort of absurd exchange you’d expect from Woody Allen or Mel Brooks, not a flick built upon an odd mix of horrific violence and kumbaya camaraderie.

     It not only works but also highlights Anwar’s encyclopedic knowledge of film history. Like an Indonesian clone of Quentin Tarantino, he freely mixes genres, all while mocking their dictates by staging something as loony as a “Crouching Tiger, Hidden Dragon”-esque martial arts display in a cell-block corridor. We even get a precipitous two-story faceplant rivaling the metaphorical one Missouri Sen. Eric Schmitt demonstrated this week. Ouch!

       At times, all the mayhem and social commentary threaten to undermine the central ghost tale, but to Anwar’s credit, he never strays for long. And good thing, because he has a compelling tale to tell involving corporate greed, a two-tiered system of justice, and a thick vein of negative karma triggered by government-sponsored corruption.

    And that’s where the film starts, with Dimas (Endy Arfian), a young business reporter in Jakarta, working a major story about an illegal nickel mining operation in Borneo that has led to the deaths of more than two dozen workers. It’s not giving too much away to say that Dimas returns from the scene of the crime accompanied by vengeful spirits who begin what will become a lengthy retribution campaign, starting with his paper’s ill-tempered publisher.

     Falsely convicted of his savage slaying, Dimas is sent to prison accompanied, unbeknownst to him, by those same pesky ghosts who are using him as a conduit to commit mass murder for reasons not revealed until late in the picture. But the why is never as important as the how. Anwar makes sure of that by neatly spacing the gruesome slayings between informative chunks of character development, with Anggoro, Jefry and the mousy Dimas each getting their moments to shine. But by far the most impactful of the bunch is the Gollum-like Tokek (a superb Aming Suandhi), as Dimas’s intimidating cellmate.  

       He’s truly creepy, uttering serpent-like slithers as he threatens Dimas with sodomy and worse. I get the yips just thinking about having to pick up the soap with him next to me in the shower. Even Anggoro might be powerless to save Dimas from this freak. But it’s thrilling watching him try. And what Aryasatya does with such a clichéd character – the good guy victim of circumstance who doesn’t belong here – is impressive, taking full advantage of his superior height, rugged looks and Adam Driver-esque presence.

     In fact, the entire cast is top-notch, but Anwar’s clever writing and expansive imagination are what infuse “Ghost in the Cell” with so damn much elation. It also features uncanny relevance, courtesy of a report this week concerning the Cibinong Detention Center near Jakarta, which mirrors a subplot here about wealthy, politically connected prisoners being housed in “luxury” cells outfitted with TVs, internet access and a hall pass to leave the premises whenever they wish.

     And how can you not think about similar perks granted to convicted child sex trafficker Ghislaine Maxwell by U.S. Attorney General Todd Blanche? So, a big fat A for timeliness. But that’s just a scintilla of reasons why “Ghost in the Cell” is so scary good. You’ll laugh, you’ll cringe and you’ll walk away amazed. But by all means, walk away happy. Cuz, if you don’t, you might end up like Dimas’ ill-fated editor: disemboweled, filleted and tied by his entrails to a slow-turning ceiling fan. Appropriate, considering it’s part and parcel of a concerted effort to give horror a fresh spin. Or, so to speak. You may differ, but me, I’m fully sold on “Cell.”

Movie review

Ghost in the Cell

Rated: Not rated

Cast: Abimana Aryasatya, Bront Palarae, Aming Suandhi and Endy Arfian

Director: Joko Anwar

Writer: Joko Anwar

Runtime: 106 minutes

Where: In theaters Oct. 2 (limited)

Grade: B+