When it comes to Hollywood, it can be tough to separate fact from fiction. Take notoriously press-shy actor Crispin Glover...

Fiction: After hitting the big-time as George McFly, the kind-hearted social misfit from the 1985 classic "Back to the Future," Glover developed a reputation as a real butt-head and squandered his newfound success by making some really bad career choices. By the time the 80's were over, Glover was a virtual has-been, and it wasn't until his brief role as the Thin Man in 2000's "Charlie's Angels" that he made another impression.

Fact: Though he's best known for "Back to the Future," Glover actually gave a far better performance a year later in the little-seen "River's Edge." His asking price for the "Future" sequels may have been too high, but Glover always marched to the beat of his own drum with steady work and strong supporting performances in films like "The Doors," "The People vs. Larry Flint" and "Nurse Betty."

There's no denying that people still see Glover as the dad from "Back to the Future," but that's likely to change with the release of the psychological horror thriller "Willard," an update of the 1971 cult classic of the same name about a loner who bonds with a pack of rats. Actually, referring to this new version as an "update" doesn't do it justice, since it's a surprisingly stylish, sometimes funny and exceptionally well-made genre film that doesn't take itself too seriously.

Trapped by his demanding mother (Jackie Burroughs), Willard Styles (Crispin Glover) is a shy loner who lives a miserable existence as an office clerk at his dead father's company. His luck changes for the better (sort of) when he discovers that he can communicate with the rats in his basement, but he is soon caught in the middle of a power struggle between Socrates, the harmless white rat with whom he develops a special bond, and Ben, the huge, evil rat who defies his authority. Willard becomes so pre-occupied with his newfound powers that he is oblivious to the charms of a beautiful office temp (Laura Elena Harring), and the pressures upon him build to the point where he can't help but unleash his army of rats upon those around him.

By expanding upon the original's theme of alienation and layering it with more stylish direction, director Glen Morgan has effectively built the better mousetrap. The film is a cross between "The Birds," "Psycho" and "Hamlet" (yes, that "Hamlet!"), and the psychological, suspenseful and supernatural elements are much stronger than you'd expect. Then again, it makes perfect sense, since Morgan (with partner James Wong) previously worked on TV's classic "The X-Files" and 2000's well done horror flick "Final Destination."

That said, the film still has its flaws. In the beginning, Morgan manages to write Willard as a sympathetic character despite his circumstances as a freak of nature. The bond he shares with Socrates is surprisingly tender, and he shows a lot of heart even as he is forced to deal with Ben's evil motives (yes, folks, we are talking about rats here!). Then, at the halfway point, Morgan's stylish direction becomes more generic, and Willard loses the sympathy of the audience by becoming outright pathetic.

After perfecting the role of the nerdy social misfit in "Back to the Future," Crispin Glover takes it to the next level in "Willard" (although it must be stated that he sports the same hairstyle). Though he tends to go over the top at times, Glover manages to make Willard a surprisingly affectionate character. At least, that's on the inside. On the outside, he's still creepy as hell, and it's hard to see what the co-worker played by Laura Elena Harring (the brunette hottie from "Mulholland Drive") sees in him. At least R. Lee Ermey (the drill sergeant from "Full Metal Jacket") seems to be having a blast as Glover's evil boss who ultimately gets what he deserves.

With a film like this, it can be hard to separate fact from fiction, but the fact is this: "Willard" is not for everybody (cat lovers beware!), but it does have a lot more depth than you'd expect for a movie like this. It's a squirm-inducing thriller that will make you sink into your seat, and thanks to stylish direction, strong performances and admirable production values, there's a lot going on to make it one of the more...how do we say it, "interesting" cinematic experiences of the year. That is, if you give a rat's ass about this sort of thing.

Scott Mantz, 2003