To the outside world looking in, Jack is not well. He's been in and out of secure units all of his young life, had every drug they can throw at him, every treatment they can think of... but nothing can make the dead go away, they always find a way through. The film is the story of Jack's last meltdown: a story of frustration and guilt, love and betrayal, family and blame. Unwillingly becoming embroiled in the unfinished business of Mark, a journalist brutally murdered in the local park and his television presenter wife, Sarah, to whom he's desperate to say one last goodbye, Jack finds himself getting closer to Sarah, obsessed with passing on Mark's message. Discovering hidden secrets and lies finally pushes the fragile Jack over the edge but there is hope when his estranged sister, Emma, gets in touch. Jack starts to remember the past they shared together and as the memories come flooding back, he starts to confront the truth about the death of his father.
There is a lot of heart and soul in this film. While comparisons can easily be brought with the likes of The Sixth Sense, there is very little attempt to glorify the thriller aspects of the story (which are there for the taking but are instead left largely unanswered). Instead, the focus is squarely on Jack and his battle both internal (fleshed out through intermittent flashbacks to a life-changing event as a child) and by default external as self-harm begins to seep into the picture.
Without a doubt, Sheehan is the standout star of this beautifully crafted film. His portrayal of someone who is both outwardly suffering from mental illness and inwardly struggling to help those grieving is outstanding. Coupled with Blair’s stark yet beguiling direction and Ian Livingstone’s haunting score, The Messenger is a unique film that, while not necessarily playing well to the masses, is a thought-provoking and unforgettable experience.
