We all know that I can be a sucker for a single location film. The ability for a filmmaker to take a single location, invest it with enough malice (in this case) that allows a small cast to take us on a rollercoaster ride, and let the audience go.
Bestseller, to a large extent, succeeds in that regard. There are classic examples of the genre, like Audrey Hepburn and Alan Arkin’s
Wait Until Dark and, more recently,
The Strangers. What
Bestseller has going for it is a sympathetic lead, a remote location and some very effective cinematography. Much like early John Carpenter’s work, the actor blocking and camera combine for an effect that allows us to immerse ourselves in Ann’s plight. These strengths, periodically through the film, also become the few instances that hold
Bestseller back from its true potential as a thriller.
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