Cooper Tilson (Dennis Quaid) is caught between his career as a filmmaker and the stress of… Cooper Tilson (Dennis Quaid) is caught between his career as a filmmaker and the stress of his everyday life. But when his son is nearly plowed over by an SUV, he and his wife Leah (Sharon Stone) decide it’s time to trade in the demands of their New York City lifestyles for the safety and simplicity of a small town. So goes the beginning of “Cold Creek Manor,” a mediocre thriller directed by Mike Figgis, the writer/director behind the Academy Award-winning “Leaving Las Vegas.”

Even before the opening credits, the film paints a picture of the Tilson family as being bombarded by the chaos of big-city life, so much, in fact, that in what seems like an instant, they sell their house and head for the small town of Bellingham, New York. While in search of a new home, they stumble upon the abandoned Cold Creek Manor. Although the history of the dilapidated estate is shrouded in mystery, the Tilsons and their two children immediately move in and begin renovations.

Everything is going smoothly until Dale Massie (Stephen Dorff of “Blade” fame) forces himself into their lives. Claiming to be the one-time owner of Cold Creek, Massie offers to help restore the house while he recovers from the loss of his family and unexplained time in jail. Feeling sorry for Massie’s bad luck, Cooper Tilson agrees to let him stay, a decision that leads to disastrous consequences for Cooper and his family.

The mystery behind Cold Creek Manor and Massie is hardly that. The film is thick with foreshadowing and leads its audience through a mess of clues that explain Massie’s past and the disappearance of his family. By the time the Tilsons realize what devilish deeds have been committed in their house, the audience already knows.

Massie is also overplayed by Dorff as a psychotic drifter obviously out for revenge. Since his performance lacks any sense of subtlety, it leaves no question that Massie is responsible for whatever misdeeds happen in the film, diminishing what little suspense the film could have had. Combine these two elements, and one has the recipe for a very predictable film.

However, one upside to “Manor” is its effective cinematography. Figgis suggests a sense of paranoia throughout the film by placing the camera at voyeuristic angles over the tops of dressers, the tops of cars and by filming through doorways. By using these methods, it seems as if the Tilsons are constantly being intruded upon in their own home, giving the film an uncomfortable atmosphere.

If you can ignore the tired plot, laughable acting and ambiguous, cop-out ending, “Manor” can be enjoyed for its few stylistic accomplishments.