As it turns out, Powell's return to civilization is not at all voluntary. While in the bush, the doctor's gorilla family is brutally attacked by a group of Rwandan rangers. Rather than allow the animals to be slaughtered, Powell springs to their defense and in the process kills two of the rangers. As a result he is being returned to the States and incarcerated in a maximum-security hellhole in Harmony Bay, Florida, where he will remain until it is determined whether or not he is sane enough to stand trial.
The task of determining the state of Powell's mental health falls into the eager hands of Theo Caulder (Cuba Gooding, Jr.), a psychiatrist who sees the high-profile case as his ticket to media stardom. If he's lucky and can succeed in drawing Powell out of his silence, there may even be a bestseller in it for him.
What Caulder hopes Powell will be able to tell him is difficult to express. It is the secret of the animal mind; the source of their kingly serenity. The bulk of the film is comprised of the sessions between the ambitious psychiatrist and his reluctant subject. At its heart the movie is an examination of the forms and nature of power: who has it (or thinks he or she has it) and at what price. Everywhere in the film, these power relationships are laid out. The warden, for example, has power over his guards, the guards over their prisoners, and the stronger prisoners over the weaker. As much as Caulder would like to think that he holds the upper hand in his sessions with Powell, he is eventually forced to concede that his superiority is largely an illusion.
That our control over life hangs by the slenderest of threads is a dominant theme during this last decade of the millennium. But about the most that Instinct deserves credit for is making a somewhat glancing reference to the idea. It makes the illusion of sense and nothing more.
Director Jon Turteltaub and screenwriter Gerald DiPego teamed up earlier on the equally dubious Phenomenon; what they set up here is a comparison between this "jungle" of a prison, where the strong tyrannize the weak, and the real jungles of Africa.
As the devolutionary primatologist, Hopkins builds his character mainly out of recycled bits from other performances, primarily The Silence of the Lambs (though his wig looks like the one Sean Connery wore in The Rock). And in the movie's most ludicrous scene, there's even a tiny hint of Picasso (à la 1996's Surviving Picasso) as the prisoner uses chalk to sketch out the history of the world on the wall of his cell. With actors as dynamic as these two facing off against each other (and Donald Sutherland in a tiny role as Gooding's mentor psychiatrist), it's impossible for the picture to be completely without fireworks. But Gooding's role is too dour for him to express his lusty extroversion.
Unfortunately fragments of earlier performances aren't the only things being recycled. Throughout the film, slaphappy parallels to One Flew Over the Cuckoo's Nest are scattered everywhere. The most tortured, however, is made at the end of the picture, when Powell coaches his cellmates into staging a diversion so that he can make his escape. I won't give away the ending, but in this evolutionary model, more than one link is still missing.
Directed by Jon Turteltaub. Written by Gerald DiPego. Starring Anthony Hopkins, Cuba Gooding, Jr., Donald Sutherland, and Maura Tierney.