Altered Minds

Altered Minds

This psychological thriller was first called “The Red Robin,” before its title was changed to “Altered Minds” between the falls of 2013 and 2014, where it played at small film festivals. But really, I do understand why they did that; although red robin imagery dominates and is a major plot point in the movie itself, “the red robin” is more likely to be confused with a fast-food chain than anything else.

(Also, while true that “Altered Minds” does bring to mind semi-classic “Altered States,” it’s not as catchy by half.) It’s just that if they had kept the title as such, then smart ass movie critics (like myself) would probably have had ample possibly irresistible opportunity to quip something along the lines of “more like RED HERRING amirite?” etc.

“Altered Minds” drops a syringe like a penny, or should I say just like how a penny does anyway, we don’t get this piece of the puzzle until much later. Judd Hirsch plays Dr. Nathaniel Schellner: aged Nobel-prize winning (really!) psychotherapist who’s on his last legs; he and wife Lillian (Caroline Lagerfelt) are hosting a birthday party for him that’s also kind of goodbye dinner for their four adult children?

Sole biological offspring Leonard (Joseph Lyle Taylor), who’s also in the psych biz; Vietnamese adoptee Harry (C.S. Lee), proficient classical musician; biological brother and sister Tommy (Ryan O’Nan) and Julie (Jaime Ray Newman), picked up in Russia; Tommy now horror novelist seems to kind of look after everybody although he is first seen not at his folk’d cozy suburban home but nearby digging up somebody else’s property because he’s looking for an urn containing ashes of beloved family pet: “Icicles are dangerous; think about your kids,” Tommy rasps to a local mom who reacts to his offer to clear the pointed hangers from her shingles if she’ll let him shovel in her backyard.

Meanwhile at the house Harry is telling mom “I think I’m gonna quit the Philharmonic,” to which she stammers “But but you’re one of their best violinists,” which should give you an idea as to how this movie tends to handle its exposition material.

Once Tommy finally makes it home things heat up, and over acted by O’Nan rather studiedly semi-prodigal son begins accusing previously dear old dad of having conducted heinous psychological experiments on him as a child. This is all indignantly dismissed as nonsense until Harry owns up suffering from traumatic nightmares featuring imagery Tommy also is haunted by. Some of it having to do with the aforementioned bird.

There are many impacts that Wechsler is trying to make here, ranging from “Peeping Tom” to “Wild Strawberries” to “The Celebration” and possibly even “The Family Stone.” There’s probably some Pinter in there too. But it all works toward what turns out to be a where has the director put it narrative puzzle, a quite skillfully made one but not exactly a haunting or memorable one either. Hirsch does his thing, leaning into the trust and warmth he built as a therapist in “Ordinary People,” keeping us unsure whether he’ll turn out to be the savior or the monster. He’s the best actor on screen period grounding the movie whenever its story mechanics and/or O’Nan’s hysterics threaten to send it flying off of them.

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