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It's noteworthy that this is the first full-length feature written and directed by actor Avan Jogia. Whatever else is true of the film I think Jogia deserves credit just for taking that step; if it comes off well then it speaks even more highly of them, and if it doesn't, then may we extend best wishes that they grow in their skills and find more success in the future. Thankfully, whatever the precise level of quality, I think we quickly see that 'Door Mouse' represents higher value than not. As the plot picks up it comes across as a wonderfully wry revision of neo-noir: a little punk and a little downbeat, a little indie quirky and a lot creative offbeat, all while centering not a professional investigator but a burlesque dancer and comic artist who gets drawn into seedy parts of town and dirty business while trying to figure out what's been going down. Jogia takes familiar flavors and swirls them together into an unlikely original blend in conjuring his full-length directorial debut, and I'd be plainly lying if I said it weren't fun and interesting. I'm not saying it's a major must-see, but I think this is pretty great!

As the plot thickens the writing shows itself to be full of ideas that any fans of the root genre should recognize. The protagonist narrates and provides her thoughts while navigating an existence of drudgery and delving deeper into dark, moody events; themes emerge of class, exploitation, manipulation, corruption, and conspiracy on top of crime; some characters are helpful, others are dubious, and some need a bit of pressure. To this add unique touches of punk (and post-punk) music, comic book-style illustration and animation, and a cast of primary characters who the more modern and relatable variations on classic noir archetypes, including a protagonist who is a young woman instead of a man, and moreover a young woman of color. Jogia's dialogue is just as smart as the character writing, at once claiming identifiable origins and staking new ground of its own. The tale is pointedly dour, and the rich scene writing reveals both more bits and pieces about our figures and more nefarious steps along the path to terrible revelations. As one may well expect of neo-noir in 2023, current sensibilities of film-making and storytelling allow the saga here to be even more harsh and disturbing than we commonly saw in past eras; if anything the premise and promotional artwork belie the depths to which this trudges, and it could only be nastier if it were more explicit in terms of sex, nudity, and blood.

Despite how very glum the picture is, by and large I think this is terrifically well made. I'm not saying that it's wholly unassailable, for there are times when the writing or direction get a tad heavy-handed (especially in the adoption of genre styling), and there's a measure of restraint that to some extent diminishes the understated vibrancy this could claim. The reveal we get about one major supporting character is also safely predictable. Yet the narrative is grim and compelling, Jogia's direction is firm and admirable in drawing out all the stark vitality of each beat and idea, and all others on hand turned in fantastic work across the board. Even with the subdued tone I'm very pleased with the cast, and I think all on hand give superb performances of controlled nuance and emotional depth. Some actors here are forced into a smaller corner than others, whether in terms of tone or screen time; Keith Powers is surely an example of the former, and Elizabeth Saunders of the latter. Even so I commend them all, and among others, it's always a pleasure to see Famke Janssen, who provides a bit of an anchor point; above all, Hayley Law is a low-key joy as protagonist Mouse, ably commanding a role that requires small but definite presence, and attitude hidden behind a "mousy" exterior. Based just on her performance here I'd quite like to check out more of Law's credits, and I think that's about as swell as a compliment can get.

And by all means, all those behind the scenes made fine contributions. The illustrations and animation are excellent; I highly appreciate the noir-ready aesthetics that are borne out through facets like the splendid filming locations, sharp art direction, and shrewd lighting. The fetching costume design, hair, and makeup add to those elements by reflecting the punk vibe heard on the soundtrack and seen in the characters. I could do with some more outright tension in Ketan Jogia's score, but it still adds ably to the mood at any point; from stunts and effects to cinematography and editing, everything here looks and sounds good. The core of 'Door Mouse' remains the writing, however, and I'm very happy with how solid Jogia's screenplay is, downcast but very enjoyable as we want out of cinema. The sum total of all this is a title that plays in a tried and true space, yet adds hearty helpings of its own vintage to fashion something fresh and tantalizing. As a matter of personal preference this won't appeal to all, yet I sat to watch with mixed expectations, and those expectations have been handily exceeded. In every capacity this is all so well crafted, and the viewing experience is engrossing and satisfying from start to finish. For my part I really like this, and I'd have no qualms in recommending it to just about anyone. Don't necessarily go out of your way for it, but if you have the chance to watch, in my opinion 'Door Mouse' is a good time and well worth checking out!

A fine, small thriller - the plot was a little far-fetched, especially the absence of any kind of police investigation - but the movie wasn't meant to be taken too seriously to begin with, so that wasn't really a problem. It also never stumbles into the style-over-substance abyss (though it's walking on the brink sometimes).

The reason for this: a fun and interesting lead and a likewise fun sidekick. Mouse and Ugly are two well-written and interesting characters (written with bold brushstrokes) which work even if the acting was not stellar; especially Mouse is so endearing you could watch her an hour longer and it would never get boring!

Door Mouse has such a distinct and well composed style that I watched it in growing awe. It' s not often that you meet such a clear tone in direction, camera, light, color and dialog in a genre indie film. The director seemed to know exactly what he was aiming for and hit the nail on the head. Somewhere between hardboiled neo noir, a dark generation-z-graphic-novel and a kind of weird Palahniuk-ish underground detective story. Well written, never over done or cliche, for sure in danger of walking into a trap of style over substance but never falling for it mainly thanks to its lead. Hayley Law carys the movie with her big eyes, a heavy existentialist litenes, dark and doomed wit and the intense charme from a princess of the gutter. She does such a wonderful job in portraying this iconic misfit called Mouse, stubborn, cool and very very sexy but never without essence or depth. She had me 3 Minutes in with the line "every morning I wake up in the afternoon". You can't help but love this character. And the rest of the cast is on the point too. So is the energetic garage band soundtrack that glues everything together.

I wouldn't have thought that this is the directorial debut of writer and director Mr. Jogia. Well done! Very well done. I'll keep my eyes open for his and Mrs. Law's work in the future.

With a dark and visually striking narrative, Jogia plunges the audience into a neo-noir world filled with tension, mystery, and incisive social commentary on the exploitation of women. The film is a cinematic experience that combines style, substance, and meticulous art direction, resulting in a work that resonates deeply.

At the heart of the story is Hayley Law, who plays Mouse, a young fighter and cartoonist who becomes entangled in a dangerous investigation after the disappearance of a friend. Law delivers a visceral and nuanced performance, capturing the vulnerability and determination of her character with an intensity that keeps the audience glued to the screen. Her chemistry with the veteran Famke Janssen, who plays the enigmatic owner of a strip club, is electric. Janssen, with her magnetic presence and subtle delivery, adds layers of complexity to the film, while Keith Powers, as the charming and mysterious Ugly, complements the cast with a solid and convincing performance.

Jogia demonstrates a sharp eye for visual details, using cinematography to amplify the emotions and themes of the story. The choice to frequently focus on Mouse's eyes not only humanizes the character but also creates an intimate connection with the audience. The lighting is another highlight, with plays of light and shadow that evoke a claustrophobic and dreamlike atmosphere. In particular, the way Mouse's hair is lit to resemble the silhouette of Mickey Mouse's head is a brilliant visual metaphor, suggesting the duality between innocence and danger, fantasy and reality.

Mouse's room, which serves as her refuge and creative space, is a microcosm of the chaos that takes over her life. Throughout the film, we see the environment transform into a disordered and oppressive space, reflecting the protagonist's mental and emotional deterioration. This production design choice is a notable success, reinforcing the film's central theme: the loss of innocence and the struggle against dark, systemic forces.

The soundtrack, in turn, is a character in its own right. With a combination of melancholic jazz, electronic beats, and dissonant tones, the music amplifies the neo-noir atmosphere, transporting the viewer to a universe where the line between right and wrong is constantly blurred. The film's setting is impeccable, with scenes ranging from decadent clubs to dark, labyrinthine streets, creating a world that feels alive and tangible.

Door Mouse is not just a film about an investigation; it is a courageous exploration of difficult themes, such as sexual exploitation and violence against women. Jogia approaches these subjects with sensitivity and without sensationalism, allowing the story and characters to speak for themselves. The film is disturbing but necessary, and its message resonates long after the credits roll.

Avan Jogia does an all around phenomenal job with Door Mouse. The film starts out the gate with stunning visuals and a killer soundtrack (with both only getting better as the film goes on). The beautiful color grading and well-timed graphic novel components combine to create a world that's so familiar, yet just out of reach.

Hayley Law as Mouse perfectly captures the essence of how deeply jaded yet fiercely passionate so many teens and young adults feel today. Apathy masking how suffocating it really is to move within never ending systems of oppression. The film allows space for people of color, especially women, to reclaim their agency outside the lens of "otherness." Nhi Do as Doe Eyes does this particularly well. Her presence haunts you with every appearance and drives the story to its satisfying end. Keith Powers was a delight as Ugly. He manages to bring such levity and authenticity to his scenes with only the slightest of expressions. (The part where we learn his government name was one of my favorites - superb comedic timing)

Power, privilege, and race dynamics are captured in the way that they are simply how our world exists. Accordingly, the dialogue delves into inequity with such casual depth and it's refreshing to see how that can be done so matter of fact without overstating rote talking points.

Door Mouse doesn't try to be more than it is - a wonderfully gritty, nostalgic noir that just happens to have an incredibly diverse cast - and in doing so, demonstrates how impactful and captivating telling familiar stories from different lenses can be. I laughed, I cried, I raged at how cruel the world can be, and ultimately left empowered that there are still ways to make sense of it all.