“The Father” is a one-trick pony.

Fortunately, the pony is a thoroughbred, none other than Sir Anthony Hopkins, who, as with so many veteran actors is having the time of his life in the role of his life in “The Father.”

Unfortunately, “The Father” is somewhat like being at a horse-racing track, whereby your eyes are riveted, mesmerized, impossible to not look away even as you are alternately filled with thrills and dread (depending on your wager).

If you’re a betting man or woman, bet on Sir Anthony to receive the actor Oscar, for which he is nominated, if sentimental favorite, Chadwick Boseman, doesn’t receive it posthumously for “Ma Rainey’s Black Bottom.” At age 83, Hopkins is said to be the oldest actor to be nominated for an Oscar.

And yet, and yet, what is about “The Father” that left me so uninvolved, so irritated, so at a loss after seeing it and so vexed?

Perhaps it’s me: Pack your baggage. We’re going on a guilt trip.

I witnessed my robust father at 85, whose birth date is March 19, 1906, descend into dementia.

As but one example, dad called me from his hospital bed to the copy desk at the newspaper where I was working, and sternly ordered me: “Get out here. This is terrible, You got to investigate this.” My dad was so forceful and so central to my nervous system that I was ready to pick up my notebook and hop in the car.

That was a long time ago, 30 years ago, when my father died at 85.

The scenario replayed with variations about three years ago when my mother gently lifted her hands aloft and looked up from her bed in the long-term care home, and smiling, said, “Don’t you think it’s time an old lady like me went up there?”

My mother’s last days, starting Feb. 28, 2018, were brutal. She did not go gently into that good night.

She died at age 101 and six months on May 1, the same date that my father died. Her depart-the-planet date was a date that I predicted.

Therefore, I didn’t view “The Father” dispassionately. And I doubt that those among you who’ve experienced the final days of a loved one, will either.

It seems to me that’s what director Florian Zeller (in his theatrical film directorial debut) intended. Zeller co-wrote the screenplay for “The Father” with Christopher Hampton (Oscar recipient, adapted screenplay, “Dangerous Liaisons,” 1988; screenplay, “Atonement,” 2007; “The Good Father,” 1985, the latter which starred Anthony Hopkins) from Zeller’s play (described as “a black comedy”).

Zeller puts a Pirandelian (as in Luigi Pirandello, Italian playwright, 1867 - 1936; “Six Characters in Search of an Author,” 1921) twist on “The Father.” Call it “An Author in Search of Six Characters.” In this, the play is akin to a theater class actor’s exercise. For me, the film doesn’t really get past the process, fascinating as that might be for actors and audience.

As with so many films, I cannot go into plot details about “The Father,” lest it ruin your enjoyment of the film. Suffice it to say, in my opinion, the film is a one-trick pony, i.e., “someone or something that is skilled in only one area,” according to Merriam-Webster. They shuffle the deck. Time moves forward and backward and sideways and upside down. We see the world through the eyes and mind of Hopkins, playing the character, who is named Tony.

In some respects, “The Father” is a suspense film. Tony is a tortured soul and evidences more multiple personalities than that of another Tony actor, Anthony Perkins, as Norman Bates in “Psycho” (1960).

In other respects, “The Father” is a science-fiction thriller. It’s as nuanced in its time-warping and parallel universe as “Memento” (2000) and “The Matrix” (1999).

In all respects, “The Father” is not unlike a documentary, but a documentary of the inside of someone’s scrambled brain. It’s chilling because it’s so normal. It’s scary because we identify with the daughter. It’s a cautionary tale because when you get to a certain age, you may more and more fear your time is here. You become your father, or mother.

At the center of “The Father” is, of course, Anthony Hopkins. And he’s why you should see the film. Hopkins (Oscar recipient, actor, “The Silence of the Lambs,” 1991; Oscar nominee, “The Remains of the Day,” 1993; “Nixon,” 1995; “Amistad,” 1997; “The Two Popes,” 2019) plays an Englishman of some renown and intellect, shifting swiftly from cajoling with a jaunty tap-dance, to hectoring with a withering glower and nasty gruff voice, to stretches of silence, sitting in place and staring into space. Hopkins’ beautiful crystalline blue eyes, his still handsome chiseled face and his courtly manner and elegant body language is so strong until ... it’s not.

Outstanding in a supporting role is Olivia Colman (Oscar recipient, actress, “The Favourite,” 2019) as Anne. Colman is a master of the shattered countenance while maintaining a heart-breaking dignity.

Memorable are Mark Gatiss (The Man), Olivia Williams (The Woman), Imogen Poots (Laura) and Rufus Sewell (Paul).

The composer is Ludovico Einaudi (“Nomadland,” 2020), who plays simple notes and a fragile melody, accompanied by violin.

The problem that I have with “The Father” is not only with its structure, which once you get to the end of it, you may be ready to sing a chorus of Peggy Lee’s “Is That All There Is?” (1969), but that it’s too clever by far.

We never really get to know “The Father,” nor the daughter, nor anyone else in it.

Everyone is coming and going. Time is not of the essence. We don’t get to know any of them. Again, I suspect it’s by design. We project our experiences with the elderly in our lives, whether family or friends, not unlike what I did.

Despite my misgivings, there is that magnificent performance by Anthony Hopkins.

A long time ago, Lehigh University professor David Amidon, looking down the rising rows of high-rises along Main Street, north of Broad Street, Bethlehem, pronounced them “anterooms to eternity.”

And that’s what we have here. As for me, for now, I say, as my dad was wont to say: “The Father” away the better.

“The Father,”

MPAA rated PG-13 (Parents Strongly Cautioned Some material may be inappropriate for children under 13. Parents are urged to be cautious. Some material may be inappropriate for pre-teenagers.) for some strong language and thematic material; Genre: Drama; Run time: 1 hr., 37 min. Distributed by Sony Pictures Classics.

Credit Readers Anonymous:

“The Father” was filmed at Blythe House, London, and in West London Film Studios.

Oscar contender:

“The Father” is nominated for six Oscars: best picture (David Parfitt, Jean-Louis Livi, Philippe Carcassonne), actor (Hopkins), supporting actress (Colman), editing (Yorgos Lamprinos), production design (Peter Francis, Cathy Featherstone).

Congratulation, Amanda:

Speaking of Oscar contenders, congratulations to Amanda Seyfried, an Allentown native, who is nominated for a supporting actress Oscar for her role as Marion Davies in “The Mank.”

At The Movies:

“The Father” was seen in Frank Banko Cinemas, ArtsQuest Center, SteelStacks, Bethlehem. COVID-19 safety protocol was followed, including online ticket purchase, contactless forehead temperature check upon entering, face-mask wearing, hand-sanitizers, and social-distancing seating in the theater, which, at 15 persons for the 4:30 p.m. March 13 screening, was considered sold-out.

The Movie Tavern Trexlertown and Regal Cinemas are scheduled to reopen April 2. The Frank Banko Cinemas, ArtsQuest Center, SteelStacks, has been open weekends since Feb. 20. AMC Classic Allentown 16 is open.

Movie Box Office,

March 19 - 21: “Raya and the Last Dragon” continued at No. 1 with $5.1 million, on 2,261 screens, $23.4 million, two weeks. “Tom and Jerry” continued at No. 2 with $3.8 million, on 2,508 screens, $33.7 million, four weeks. “The Courrier” opened at No. 3 with $2 million, on 1,433 screens, opening.

Speaking of opening, for the first time in about one year, movie theaters in Los Angeles re-opened with capacity restrictions.

4. “Chaos Walking” dropped one place, $1.9 million, on 2,132 screens, $9.6 million, three weeks. 5. “The Croods: A New Age” stayed in place, $620,000, on 1,411 screens, $55.2 million, 17 weeks. 6. ”Boogie” dropped two places, $600,000, on 1,184 screens, $3.2 million, three weeks. 7 “The Marksman” stayed in place, $480,000, on 1,002 screens, $14.2 million, 10 weeks. 8. “Wonder Woman 1984” stayed in place, $460,000, on 1,158 screens, $45.5 million, 13 weeks. 9. “The Little Things” stayed in place, $340,000, on 1,130 screens, $14.7 million, eight weeks.10. “The Father” dropped two places, $321,701, on 933 screens, $969,640, four weeks. 18. “The War with Grandpa,” co-starring Allentown’s Oakes Fegley, moved up two places, $97,426, on 413 screens, $20.8 million, 24 weeks.

Box office figures are estimates from Box Office Mojo as of March 21 and are subject to change.

Unreel,

March 26

“Nobody,”

R: Ilya Naishuller directs Bob Odenkirk, Connie Nielsen, RZA and Christopher Lloyd in the Action Crime Drama. A bystander helps a woman being harassed by men and is targeted by a drug dealer.

“Shoplifters of the World,”

No MPAA Rating: Stephen Kijak directs Helena Howard, Joe Manganiello, Olivia Luccardi, James Bloor, Ellar Coltrane, Thomas Lennon and Elena Kampouris in the Comedy Drama. In 1987 in Denver, Col., the lives of four friends is thrown into disarray with the breakup of their favorite British rock band, The Smiths.

“Six Minutes to Midnight,”

PG-13: Andy Goddard directs James D’Arcy, Eddie Izzard, Judi Dench and Jim Broadbent in the Thriller Drama. In 1939 in the United Kingdom, an English teacher disappears before World War II begins.

“The Seventh Day,”

R: Justin P. Lange directs Guy Pearce, Stephen Lang and Keith David in the Horror film. A well-known exorcist joins forces with a young priest.

Movie opening date information is from Internet Movie Database.

Three Popcorn Boxes out of Five Popcorn Boxes