The Oscar-nominated actor was the best thing about “Pirates of the
Caribbean: The Curse of the Black Pearl” and “Once Upon a Time in
Mexico,” and he’s certainly what keeps the horror-thriller “Secret
Window” engaging.

Depp holds the audience’s attention from the very first frame, in
which he is shown debating his own conscience before embarking on a
decision with severe consequences.

In “Secret Window,” Depp plays Mort Rainey, a successful mystery
novelist who has sequestered himself in a spacious lakeside cabin to
write his latest book. He is there because his wife (Maria Bello) is
occupying their upstate New York abode while the two finalize a
divorce.

The strain of the failed relationship is leading to a case of
writer’s block for Mort. But what really ruptures his concentration
is when a creepy hick named John Shooter (John Turturro) shows up at
his door. Sporting a black preacher’s hat and an icy demeanor, the
Mississippi man insists that Mort stole one of his stories and needs
to set the record straight.

Before long, the situation begins to escalate, as do the violent
consequences. Soon Mort’s estranged wife and her new jerk-wad
boyfriend (Timothy Hutton) are drawn into the conflict.

Yet there are hints that this kind of plagiaristic accusation has
been leveled at Mort before. And what is the real reason that
motivates Shooter to go to such extreme lengths?

“Secret Window” is based on a 1990 Stephen King story and
directed/adapted by veteran scribe David Koepp, whose screenwriting
credits include “Spider-Man” and “Panic Room.” (King gave up his
rights to the film in order to secure those for TV’s “Kingdom
Hospital” – which explains why the author’s presence is so downplayed
in the picture’s marketing campaign.)

It’s hard to blame King that in the last year WAY TOO MANY films have
taken a realistically taut setup and jumped ship for an ending rife
with psychological mumbo-jumbo. Like the recent thrillers “Identity”
and “Swimming Pool,” this film indulges in a spurious plot twist that
it can never recover from.

Koepp and King provide plenty of clues to the “surprise.” Even those
barely paying attention will notice the film’s preoccupation with
mirrors – and Doritos product placement for that matter. Anyone who
owns a dog, however, will be tipped off early during the first
meeting between the stalker and his quarry.

Despite this bogus ending – which eventually proves more O. Henry
than anything else – Depp’s mere presence justifies seeing the movie.
With his perpetually mussed-up hair and mousy mannerisms, the real
joy is watching how the actor deals with everyday situations, from
his clumsy battles with inanimate objects to his hilarious arguments
with the “rubbernecking” Hutton.

Also amusing are his internal struggles to get his novel on track. At
one point when he is unhappy with an introductory paragraph that he
has been pondering too long, Depp screams, “This is just bad writing.
No bad writing!”

It’s a shame the filmmakers couldn’t wholly heed Depp’s advice.