Alex (William H. Macy) has a problem. He wants out of the family business, but he doesn’t know how to tell his father. In his mid-40’s, Alex wants to settle down and take care of his wife and young son. The problem is his father Michael (Donald Sutherland), a man who cannot tolerate weakness, and sees it as a sign of betrayal.

How do you tell someone like that you no longer want to be a part of his life? It’s not easy, especially when you consider that the family business is killing people. Like father, like son, Alex makes his living as a contract killer. His wife Martha (Tracey Ullman) and son Sammy (David Dorfman) think Alex runs a mail-order business out of their home. He does, but only as a cover for his real job.

Alex is torn between loyalty for his father and his desire to have a life of his own, one that doesn’t involve killing people. He can’t talk to his wife, and his parents don’t want to hear it. So Alex turns to psychiatrist Josh Parks (John Ritter), who at first doesn’t believe Alex. Would you? What would you do if a hired killer came into your office to unload?

While this territory has been covered before in “The Sopranos,” writer-director Henry Bromell gives it a fresh spin in “Panic,” a smartly written morality tale about people who have built walls around their lives. He creates interesting characters that have something interesting to say. His walking wounded roam a desperate landscape filled with emotional land mines.

William H. Macy is perfect as Alex, a man who has spent his entire life being afraid to stand up to his father. His life is one of control, but you just know that he’s falling apart inside. He has created such a perfect facade that he occasionally forgets what is real and what is not. Everything he says and does feels rehearsed, as though he’s putting on a show. He is.

Macy convinces us that Alex isn’t a monster, but just a man doing his job. Even though he’s a hired killer, we must sympathize with Alex. Macy is so gifted as an actor that he has no problem winning us over. We will follow his character anywhere, including down some very dark alleys. Neve Campbell is wonderful as Sarah, a fellow patient who has major issues of her own. I like the dance that goes on between these two characters, never fully connecting yet getting so close it hurts.

Alex sees hope in Sarah, a break from a stale marriage and a dominant father figure. Even though she’s willing, Alex isn’t. He wants her, but will she be enough to fill the void in his life? Is she worth ruining his marriage over? Campbell has some wonderful scenes with Nicholle Tom, who plays her best friend and occasional girlfriend Tracy.

Donald Sutherland is absolutely frightening as Alex’s father. It’s easy to see why Michael kills people for a living. He has no soul. He feels nothing. He thinks nothing of exposing his son and grandson to killing at an early age, a reminder of things to come. Barbara Bain, who plays Sutherland’s wife, presents the perfect portrait of a disenfranchised wife who is in total denial. Surely this woman knows what her family does for a living, yet seems completely shocked when it hits home.

Tracey Ullman establishes Martha as a woman who is comfortable with her life, but wishes there was more romance in the bedroom. She doesn’t understand her husband’s emotional distance, but lives with it.

What I really appreciated about “Panic” is that writer-director Bromell isn’t on a mission to impress us. He knows the characters and plot are strong. He doesn’t turn the film, his debut, into a calling card. There are no cinematic flourishes or MTV-inspired editing, yet “Panic” remains visually arresting. You are not only drawn into the lives of the characters, you are drawn into the world they inhabit.

Told with complete conviction and featuring many memorable moments (the ending is quite poignant), “Panic” is one of those little movies that got away. Now is your chance to catch it.

COMPLETE CHECK-UP

VISION: 20/20

2.35:1 Widescreen

16:9 Enhanced

Sharp, nicely detailed digital transfer. Presented in the film’s original widescreen format, the transfer offers impressive imaging, with nice, tight colors that never bleed or fade, solid blacks, and pure whites thanks to a pristine print. Flesh tones are precise, while the rest the colors look true. No real artifacts or pixleation, but there is a little minor edge enhancement, but not enough to distract from the overall experience. Depth of field is good, except in some low light interior scenes, while attention to detail is fine. Nicely done.

HEARING: Good

2.0 Dolby Digital Surround English

2.0 Dolby Digital Surround Spanish

Even though the soundtrack isn’t presented in 5.1, it really doesn’t need to be. Most of the scenes are dialogue driven, enhanced by the moody music of Brian Tyler. There really isn’t a need for anything more than a 2.0 track, which does an excellent job of getting the job done. The dialogue mix is strong and forefront, with the remainder of the 2.0 mix clean of hiss and distortion.

ORAL: Good

Closed Captions in English for the Hard of Hearing

COORDINATION: Good

Feature-length commentary with director Henry Bromell, whose cadence reminded me of Ben Stein. Bromell eventually loosens up, but he could have used a co-host to make all of this click. His commentary is filled with the obvious suspects, but this stuff is always interesting, especially to film buffs who love to hear independent film horror stories. While Bromell touches on a little of everything, he also takes some breathers that almost suggest the commentary is over.

Five deleted scenes, that in this case, bring so much more to the party. Neve Campbell benefits most, with several of the deleted scenes expanding her character and motivations. Even though they don’t share the same detail as the final transfer, these scenes are worth a look.

The film’s original theatrical trailer

Cast & Crew Info that is both extensive and well written.

Attractive, animated main and scene access menus.

PROGNOSIS: Excellent

Modern film noir at its best.

VITALS:

$29.98/Rated R/93 Minutes/Color/32 Chapter Stops/Keepcase

ATTENDING RESIDENT: John Larsen

PATIENT: PANIC

BIRTH DATE: 2000

HMO: Artisan Home Entertainment

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