The Cell (2000) Revisited – Horror Movie Review

The Revisited series takes a look back at the 2000 horror film The Cell, starring Jennifer Lopez, Vincent D’Onofrio, and Vince Vaughn

The The Cell episode of Revisited was Written by Vannah Taylor, Narrated by Tyler Nichols, Edited by Juan Jimenez, Produced by Tyler Nichols and John Fallon, and Executive Produced by Berge Garabedian.

Have you ever wanted to take a glimpse inside the mind of a serial killer? Countless crime procedurals are focused on profilers who give their audiences capsule sized psychology lessons, and there is always a new true crime series attempting to unravel the question: what makes a murderer? The only thing we want to know more than why we do the things we do is why evil and horrible things happen in the world around us. Audiences follow fictional killers who hide behind their masks, watch FBI agents as they uncover the mystery of who killed the homecoming queen, and listen to tapes of real-life monsters as they recount the tales of their crimes. We want nothing more than to peer into the dark corners of a tortured mind. 25 years ago, director Tarsem Singh did just that and embarked on a bold mission to literally go inside the mind of a criminal by masterfully morphing a crime thriller into surrealist sci-fi horror in The Cell. 

The Cell stars Jennifer Lopez as Catherine Deane, a therapist who specializes in an advanced neurological treatment that allows her to enter the subconscious of comatose patients and help trauma victims regain consciousness by threading through the vast internal landscapes they have constructed to help them work through their subconscious fears. Primarily for therapeutic purposes, this experimental technology is struggling to stay afloat given the patient’s parents’ inability to see any real proof of the work Catherine is doing to help their son. 

Meanwhile, FBI agent Peter Novak, portrayed by Vince Vaughn, is closing in on a sadistic serial killer named Carl Stargher. Stargher’s MO involves drowning his victims in a glass cell that slowly fills with water before he suspends himself above their newly “purified” bodies. Unfortunately, for Agent Novak and his team, Stargher falls into a coma just as they approach his dwelling to make the arrest–forcing them to turn to Catherine, who must enter his mind to try and uncover the location of the next victim before she succumbs to her watery tomb. 

Inside Stargher’s subconscious, Catherine finds herself in a surreal nightmare shaped by his psychosis, dominated by grotesque imagery and shifting identities. Stargher appears both as an abused child and as a monstrous, god-like entity that torments Catherine. As she navigates his subconscious, she gains insight into his tragic past, revealing the severe abuse he suffered as a child, and helps Novak extrapolate clues derived from Stargher’s memories. The result is a narrative that switches between these horribly horrific vignettes that can be likened to something out of a Hellraiser film, and the mundane yet bleak real world where Agent Novak is dedicated to claiming justice in the name of Stargher’s victims. 

Screenwriter Mark Protosevich, who later worked on films like I Am Legend (2007) and Thor (2011), crafts an exhilarating crime story that centers on the type of killer that captures the curiosity of the audience, reminiscent of stories like Manhunter (1986) or The Silence of the Lambs (1991). What sets The Cell apart, however, is how the exploration of a tormented mind is elevated by the stylistic eye of Tarsem Signh. Before this feature debut, Singh was already well versed in visual storytelling through his work directing music videos like Suzanne Vega’s Tired of Sleeping and R.E.M.’s Losing My Religion–which shares many visual similarities with the scenes inside Stargher’s mind. His dedication to bringing to life this unique vision shows immense confidence right out the gate. 

The aesthetics of the film, achieved through a combination of costuming and set design, help illustrate Catherine’s journey deeper into Stargher’s mind, decorated with elaborate tableaux populated by manifestations of his psyche, which alternate between a childlike victim and a demonic presence. Costume designer Eiko Ishioka, who won an Academy Award for her work on Francis Ford Coppola’s 1992 film Bram Stoker’s Dracula, is an essential aspect of Singh’s visual style as she would go on to costume his later films including The Fall (2006), Immortals (2011), and Mirror Mirror (2012). Her costuming is opulent and fantastical and the flowing fabrics often help create a sense of defying gravity, helping imbue this other reality with physics that we can identify as different from our own. 

The costuming is laid across sequences that are heavily inspired by the work of dark fantasy and surrealist artists–the joint effort between production designer Tom Foden and art directors Geoff Hubbard and Michael Manson. The most immediate influence is the work of Odd Nerdrum, who often depicted suffering and isolation, which can be seen when Vaugnh’s Agent Novak first enters the mind of the killer and comes face to face with three manifestations of his mother. Other haunting and surreal imagery is borrowed from artists such as Salvador Dali, Francis Bacon, and Remedio Varo, and infused with visuals influenced by the biomechanical designs of H.R. Giger–most famous for designing the iconic xenomorph in Ridley Scott’s Alien (1979). The famous art installation featuring a shark suspended in formaldehyde, titled “The Physical Impossibility of Death in the Mind of Someone Living” by Damien Hirst, is also echoed in the scenes where Stargher’s victim’s are trapped in their glass cell’s filled with water. This piece also serves as an influence on the first scene when Catherine meets Stargher’s inner child and a horse trapped in glass has its body severed into multiple pieces while suspended in the glass–a disturbing image that was recreated in the TV series Hannibal with the death of Beverly Katz. By making reference to this work of art, Singh calls forward the work’s meditation on mortality and the fragility of life. Formaldehyde is helping to preserve the subject inside, slowing the process of decay–which represents the memories that are being preserved inside Stargher’s psyche. 

All of this imagery comes together to create a complex map of the inner world and explore the nature of the subconscious and the fluidity of identity. Within Stargher’s mind, Catherine encounters multiple versions of him—each representing different aspects of his fractured psyche. This concept aligns with psychological theories on dissociation, suggesting that extreme trauma can fragment a person’s identity, leading them to compartmentalize their experiences in a way that distorts reality.This allows The Cell to present a complex view of Carl Stargher, avoiding a simplistic portrayal of him as merely evil. Instead, the film suggests that his horrific acts stem from deep-rooted childhood trauma. While this does not absolve him of his crimes, it adds layers to his character, making him more tragic than purely monstrous and posing the unsettling question of whether a person can be both a victim and a villain. While this sincerity and sympathy shown for the film’s antagonist was the subject of critique by viewers who would rather not feel sorry for the perpetrator of such brutal killings, it shows a real understanding for how unfathomable the complexities of the human mind can be. 

The Cell was a success upon release and after opening in the number one at the box office, it eventually grossed over $104 million against its budget of $33 million. ​​However, it was still met with mixed reviews from critics. While many praised its visual artistry and ambitious concept, others found the narrative to be lacking in depth, arguing that the film prioritized style over substance. Some critics felt that the psychological and crime elements of the story did not mesh seamlessly, making the film feel disjointed at times. 

Despite some of the film’s mixed reviews, it can be agreed that the performances of its main cast are a major strength of The Cell. Jennifer Lopez had only released her debut album at the time of the film’s release and was mostly known for her leading roles in films like Selena (1997), Anaconda (1997), and Out of Sight (1998). She does a knockout job taking on the dark subject matter of this film. For audiences who discovered this film later, it might be weird to see the J.Lo we know today in this type of role but she certainly shines as Catherine Deane. Her beauty is angelic and her voice is soft and comforting, yet warm and determined. She is sincere and believable as the ideal candidate to help bring peace to troubled minds. However, Vincent D’Onofrio’s dual performances steal the show. His portrayal of Carl Stargher is haunting as he seamlessly shifts between vulnerability and sheer terror. He fully embodies the grotesque, larger-than-life presence within the subconscious realm while also portraying his real-world self with eerie detachment. Vince Vaughn is the only star who might seem out of place for those who only really know him for his comedic roles–yet it makes him the perfect casting for such a simple and grounded character who is indeed a fish out of water when he is forced to take the plunge into a world beyond his understanding. 

The film’s exploration of trauma, psychosis, and the subconscious mind elevates it beyond a standard thriller, making it a fascinating yet disturbing cinematic experience that definitely rewards its viewers on subsequent rewatches–helping it maintain a loyal fanbase and cult following over the years. I think it is clear that The Cell is a prime example of when a film’s style IS its substance, especially since its bold imagery has inspired so many works over the last 25 years. Its influence can be seen in later films and TV series that explore similar themes of entering another person’s mind, such as Inception (2010) and Mindhunter (2017), as well as other films or music videos that have been influenced by Tarsem Singh’s style. 

The Cell is a unique and unforgettable entry in the psychological horror genre. Its combination of crime thriller elements with surreal, dreamlike horror creates a film that is both visually stunning and deeply unsettling. While not universally acclaimed upon release, it has since been recognized for its artistic ambition and its willingness to delve into the darkest corners of the human mind. With a compelling performance from Vincent D’Onofrio, breathtaking visuals, and thought-provoking themes, The Cell remains a fascinating exploration of trauma, identity, and the subconscious. It is a film that lingers in the mind long after the credits roll, much like a haunting dream that refuses to fade.

Two previous episodes of Revisited can be seen below. To see more of our shows, head over to the JoBlo Horror Originals channel – and subscribe while you’re at it!