Home Movie Reviews MK Ultra Review: Joseph Sorrentino’s CIA Thriller Is Detailed & Effective

Its tone & performances are in lockstep, creating a familiar but effective vibe, making MK Ultra a no-frills thriller reminiscent of 70s paranoia.

In the 1960s, the U.S. was going through enormous change. However, one story that went under the radar amidst all that change was the CIA’s experiments with LSD. MK Ultra is a psychological thriller that digs into how self-interest and drug studies proved to be a good idea with bad intentions. Writer-director Joseph Sorrentino (The Sacrament Of Life) has full confidence in his vision and the patience to pull it off. The film’s tone and performances are in lockstep, creating a familiar but effective vibe, making MK Ultra a no-frills thriller reminiscent of classic 70s paranoia.
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Dr. Ford Strauss (Anson Mount) is attempting to get medical LSD testing approved and finds no luck in taxpayer dollars — or so he thought. He is approached by CIA agent Galvin Morgan (Jason Patric) and can’t tell if this is his lucky day or blackmail. Nonetheless, Dr. Strauss agrees to take the CIA’s money for LSD research. The study consists of a drug addict, an arsonist, a transgender woman, and an animal killer. The trials get off to a rocky start, but once the doses are adjusted, a hypothesis slowly forms in front of Dr. Strauss. Reveling in his success, he is reminded by a former coworker to be wary of how easy everything has fallen into his lap. Dr. Strauss begins to question Agent Morgan’s ethics and what he is getting out of all this. Dr. Strauss gets the answers he is looking for and unravels an unfathomable conspiracy.

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The tone of MK Ultra is superb. The film wastes no time on the character’s backstory and allows for the feel of the movie to affect audiences immediately. Music is used sparingly and when it is, the melodies are not overpowering. The lighting is dim, and the colors are very flat, making for an almost eerie sameness. The cinematography may be the only choice that does not fall in line with the tone. Most of MK Ultra is filmed with handheld cameras, which gives it a rather modern look. In the more intense moments of the film, the handheld style works better. However, this camera choice is what ultimately brings life to a purposefully simple production design.

Every performance in the film lives in harmony with its counterpart. The cast is on the same page with one another and in line with the director’s themes. Patric (Speed 2: Cruise Control), in particular, is giving a fascinating performance. In his first big monologue, it’s up to him to keep the audience’s attention for two straight minutes, and he does not disappoint. A host of other familiar and new faces populate the supporting cast. Snowfall’s Alon Aboutboul gives a stirring and nearly silent turn as the CIA agent who films the patients while they are experiencing LSD. And Jen Richards (Mrs. Fletcher) and Jill Renner (For The People) give tremendous performances as two of the test subjects.

Perhaps the most 70s aspect of the film is the dynamic between Jason Patric and Anson Mount (Star Trek: Strange New Worlds). The book smart, but ever so naive Ford is trying to make a difference in a world clearly controlled by the off-beat but always in command Morgan. Patric’s performance calls on films like Marathon Man and The Conversation. Meanwhile, Mount does a great job of playing an honest man with extreme ambition, but one who never truly acknowledges that inner conflict. Patric doesn’t flinch for even a second while still giving the impression he could murder anyone at any point.

MK Ultra delivers on multiple fronts. The film is to the point and does not worry about historical accuracies, focused on making an entertaining product instead. The performances are understated but brimming with talent; the actors leave no stone unturned. As a director, Sorrentino knows what he wants onscreen and gets it there. From LSD therapy to German mind control, MK Ultra has what it takes to tackle its subject matter and then some.

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MK Ultra is in theaters and on-demand October 7. The film is 98 minutes long and is not rated.