Category Archives: Reviews

2019, Recent Reviews, Reviews

The Peanut Butter Falcon (2019): Heartwarming Adventure

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With dreams of becoming the next great professional wrestler, Zak (Zach Gottsagen), a 22-year old man with Down syndrome, escapes the retirement home he lives in to make his way to Florida and join a wrestling school. He is pursued by Eleanor (Dakota Johnson; Suspiria), his friend and caretaker from the home. Along the way he befriends Tyler (Shia LaBeouf; Transformers) who lets him tag along as he runs away from his own pursuers.

Set in the coastal areas of North Carolina, the film has some beautiful views. Directors Tyler Nilson and Michael Schwartz favor the yellow-greens of the wet setting when outdoors without postcard-style imagery. They make an effort to show how grimy life in that area can be. Most of the characters are poor, houses are broken down, and everyone seems to be dirty and sweaty. LaBeouf looks like he hasn’t showered for days and it makes the characters and setting believable.

With his straightforward delivery, Zak is an immediately likable protagonist. Zak is smart, resourceful, and determined. The subterfuge in his attempts to escape the retirement home are hilarious as he earns the help of his fellow patients though bartering pudding for a diversion. He brings honesty and innocence to the screen. He responses carry no pretense or ulterior motive and Gottsagen’s acting feels completely in the moment as Zak authentically reacts to the characters around him. His goal of reaching the wrestling camp, while ridiculous, is so earnest that it makes him and his pursuit sympathetic. Despite this being his first major role, Gottsagen is able to handle himself alongside experienced actors like Bruce Dern (Nebraska) as he deftly handles both dramatic and silly scenes.

Zak and Tyler grow into a sweet brotherly bond.

The friendship between Zak and Tyler is what drives the film. LaBeouf has a reputation both on an off camera, but his performance here contrasts nicely with Gottsagen. Tyler is trying to be a lone wolf as he flees his pursuers, but, after witnessing Zak’s sincerity, he becomes the perfect contrast. He encourages Zak and makes Zak’s goals his own. The same is true for Eleanor. She is more pragmatic as she wants to bring Zak back home to safety, but she also recognizes how much wrestling means to him and is willing to take risks just to make him happy. As cliché as it may seem, Tyler and Eleanor become Zak’s surrogate family and the care they show Zak is heartwarming without being saccharine.

The film focuses on themes of family and self-acceptance. When Zak and Tyler start their journey, Zak has negative opinions about his own abilities. He assumes he has to be the villain in wrestling because he has Down syndrome until Tyler explains otherwise. It’s nothing new for a film to promote self-acceptance, but the tangible changes to Zak’s perception of himself are enough to soften the familiarity. Showing, not telling, how even small bits of encouragement can drastically change someone’s beliefs is the film’s greatest accomplishment. Nilson and Schwartz have made a heartwarming adventure with an unlikely, but lovable hero.

4/5 stars.

2019, Recent Reviews, Reviews

The Nightingale (2019): Unflinching, Unhurried Revenge Story

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After her promising debut with The Babadook, Australian director Jennifer Kent has stayed close to home with her sophomore effort. The Nightingale takes place during the Black War period in the early 1800s on Tasmania. The British have entered the area and used it as a penal colony. Clare (Aisling Franciosi; The Fall), a convict, works a servant for the British Army and lives with her husband, also a convict, and their baby. She is tormented by Lieutenant Hawkins (Sam Claiflin; My Cousin Rachel), the local ranking officer, who makes unwanted advances towards her. When she asks for a approval letter that would allow her and her family to move, he brutally assaults her. A further act of violence is committed shortly after and it leaves Clare with nothing on her mind but revenge.

There will be complaints about the heinous acts on display. Clare is victimized and Kent does not shy away from depicting her suffering. In the film’s most uncomfortable scene, Kent places the camera, and the viewers, directly in Clare’s perspective. In this shot, the image shows nothing, but says everything. The camera only jostles as Clare’s pain and powerlessness is passed directly onto the audience with unsettling efficacy. These scenes, and there are multiple, are cruel, but necessary for the plot and character development.

Franciosi gives Claire a single-minded need for retribution.

The plight of the natives is also a major topic for the film. As Clare seeks to find and punish Hawkins and his cronies, she enlists the help of an Aboriginal tracker, Billy (Baykali Ganambarr), to help her navigate the wilderness. Clare’s prejudice, and that of her fellow colonists, is immediately apparent. They talk about the Aboriginal people as wild, treacherous animals that Clare cannot trust or be left alone with for her own safety. Early on, she only refers to Billy as “Boy” and walks behind him with a rifle pointed at his back. Her condescending tone and blatant racism is difficult to process after the sympathy she has gained from her suffering. It becomes clear that as terribly as Clare has been treated, the native people of Tasmania had it much worse. Gradually, Clare and Billy learn of each other’s tragic pasts and become allies. Billy risks himself to prevent Clare from being harmed and Clare uses her position of trust as a white woman to get Billy past trigger-happy colonists, but the savagery and debasement of the Aboriginals is still a pervasive presence.

It is Kent’s uncompromising approach that carries the film. The slower pacing and unyielding camera lend weight to the actions onscreen. She creates a sense of shared suffering in the victimized characters and in the audience. This also serves to create an entirely despicable villain. Hawkins is unrepentant for his behavior and abuses everyone around him with extreme entitlement. Kent spends more than enough screen time establishing the horrendous nature of his character which makes Clare’s dangerous and likely unsuccessful path to finding him necessary. With her focus on the harsh realities faced by the women and natives of Tasmania, Kent has created an unflinching and unhurried revenge story.

4/5 stars.

2019, Recent Reviews, Reviews

Ready or Not (2019): Playful and Bloody Kill Scenes

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Meeting your in-laws right before your wedding can be a stressful experience. Will they accept you as part of their family or will things start off on the wrong foot? In the case of Grace (Samara Weaving; Three Billboards Outside Ebbing, Missouri), assimilation is a dangerous task. She is marrying into the Le Domas family, a wealthy lineage that made their fortune on selling board games and playing cards. She learns from her fiancé about a tradition that anyone joining the family needs to draw a card at midnight and play whatever game they draw. Grace picks hide and seek and runs off to find a spot. Unbeknownst to her, she has drawn the wrong card. The family grabs antique weaponry for a life or death game. They believe that their ancestor made a deal with a mysterious man that has granted them their extreme wealth and that they will lose everything, including their lives, if they don’t kill Grace before sunrise.

Fittingly, Ready or Not has a playful tone. When characters are killed, it is often in slapstick fashion. Some family members use crossbows to hunt Grace and the limitations of the weapons and the family’s inability to properly use them leads to accidental deaths of their house staff. The deaths, while bloody, are comedic as characters argue with each other instead of reacting to a nanny getting half her head blown off. Melanie Scrofano (Pure Pwnage) is hilarious as Grace’s incompetent, drug-addicted sister-in-law. She alternates between cocaine and sedatives as she tries to get in the right state of mind to find and kill Grace, but fumbles every opportunity. Her earnest frustration with herself keeps the situations light and distracts from the gruesome deaths.

The family dynamics turn the film into a horror-comedy.

The film takes place in a gargantuan, Gothic style mansion that is the perfect environment for hide and seek. There are several floors, dozens of rooms, secret “servant hallways”, and a large surrounding estate. The castle-like structure is replete with hiding spots, but also unfamiliar to Grace as she opens doors without knowing where they lead. It provides ample tension since a gun-toting in-law may be just around the corner, but also relieves that same tension when the family stops to strategize only for Grace to mistakenly walk right in front of them.

As the unfortunate player, Weaving is sympathetic. Her horror and confusion as she witnesses the first accidental kill and realizes the stakes of her situation are relatable, but it is her turn from prey to predator that makes the film. Weaving, who looks like she could be Margot Robbie’s younger sister, quickly swaps her high heels for sneakers and tears her long wedding dress so she can effectively creep around the house. She morphs from the victim to a threat to her attackers as she stops hiding and starts hunting. There could be a metaphor here about the behavior of the ultra-rich and the horrific lengths they are willing to go to preserve their status, but directors Matt Bettinelli-Olpin and Tyler Gillett (V/H/S) have little interest in deeper meanings. Instead, Ready or Not is a fun excuse for kill scenes that are as bloody as they are playful.

3/5 stars.

2019, Recent Reviews, Reviews

Blinded by the Light (2019): Dreams and The Boss

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In a small, working-class town in England, a boy discovers the music that will change his entire world. Javed (Viveik Kalra; Beecham House) is a 16 year old that writes poems in his diary and is told by his immigrant parents to study to become a doctor, lawyer, or estate agent. His goals in life change when a friend introduces him to the music of Bruce Springsteen. This is the late 80s when Bruce is no longer popular with the synth pop-loving teenagers, but his lyrics about blue-collar life strike a chord with Javed and inspire him to pursue his love of writing.

To Javed, Bruce’s music doesn’t just sound great, it’s a revelation. No scene communicates this better than when Javed inadvertently serenades a girl from his class. While working at a clothing shop, he turns on his Walkman and notices the girl from his class he likes in the distance. He stares at her and starts singing along to the Springsteen song as he slowly walks towards her, transfixed and seemingly unaware of his very public display of affection. What follows is a disarmingly sweet explosion of emotion as Javed continues to sing and others join in and start dancing. The music, like his first love, is an overwhelming torrent of feeling that he carries him forward. That director Gurinder Chadha (Bend It Like Beckham) can take a trite act like singing to someone and turn it into an act of pure, uninhibited passion is a testament to her strengths as a director and the deeply affecting link between Javed and the music.

The swirling lyrics that accompany the music are a nice addition, especially for those unfamiliar with Springsteen’s music.

Despite her background in narrative filmmaking, Chadha pulls from prominent music video techniques. When Javed first hears Bruce’s music, there are lyrics onscreen that float around his head, emphasizing his connection to the meaning behind the songs, not just an appreciation for their sound. As Javed listens, Chadha uses projections of images and lyrics onto building walls to show his total immersion in the music. It’s not an original visual, but it is effective as Javed touches words on the walls in earnest kinship.

Most of Javed’s story is predictable, but the sincerity of it all is enough to distract from its familiarity. It’s again the story of traditional parents with a child that wants to do something outside the norm, therein creating a rift in his family. Javed’s dad is stern, prescriptive, Javed says “In my house, only my dad is allowed to have an opinion.”, and disapproves of his music and writing. Javed instead finds support from his English teacher at school who encourages him to express his voice. At first, it seems like he is going to be obnoxious with how overeager he is, but that fear quickly dissipates with his charm. He and his friend love Bruce Springsteen to such an exorbitant degree that it’s impossible not to enjoy watching characters so genuinely passionate about something. Blinded by the Light tells a conventional narrative, but does so with enough unrestrained emotion and engrossing idealism to make Springsteen himself proud.

4/5 stars.

2019, Recent Reviews, Reviews

Luce (2019): Mixed Messages

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Luce (Kelvin Harrison Jr.; It Comes at Night) is a golden boy. He’s a star athlete, incredible student, and beloved by his school staff. He gives speeches at school assemblies and is poised for a great future, but comes from a difficult past. He was adopted from war-torn Eritrea by wealthy white parents and his life seems perfect until a teacher (Octavia Spencer; The Help) finds fireworks in his locker and has suspicions about his true character. As Luce, Harrison brings a smile and expressions that seem kind, but could just as easily be fake and the slightly stilted body language plants enough seeds of doubt to make his teacher’s allegations possible.  Similarly, Spencer seems like a dutiful teacher at first, but may have her own agenda.

Luce has a lot to say about race, primarily racial stereotypes. Luce is a model teenager that seems to excel in every field. Teachers give him the benefit of the doubt and, in some cases, even go out of their way to protect  him, but that luxury isn’t afforded to every student. Other black students, doing the same behaviors as him, are quickly punished and suffer long term consequences. Luce’s friend tells him “You’re not really black” and Luce questions why he gets to be “one of the good ones” and others don’t. This is an incredibly complicated issue and the film uses this labeling to add layers to the doubts about Luce’s actions as the characters and the audience are asked to question their own predispositions to judging someone’s innocence.

Harrison’s manners have a slight suggestion of insincerity that prevents Luce from being completely trustworthy.

In its lineup of topics, Luce goes after innocent targets with no discernable purpose. When Luce is initially accused of wrongdoing, his mother supports him at all costs, refusing to believe any allegation. His dad has less blind faith and when events create reasonable doubt, he spouts, “I just wanted a normal life. I didn’t want our family to be a political statement.”, implying that he not only regrets adopting Luce, but that they did it to make themselves seem progressive. It’s possible that there may be cases like this, but who is director and co-writer Julius Onah (The Cloverfield Paradox) trying to interrogate here, adoptive parents? Luce’s mother points out how they spent years going through therapy with their son to help him recover from the terrible life he faced in his home country, a gargantuan effort that few would be willing to do when a “normal family” is an option. To question people that choose to give a child from a better life, people to choose to face the difficulties the child may bring because they believe he or she is worth, is irresponsible and harmful. Some films tackle easy subjects, some tackle difficult subjects, but in this instance, the director punches down at people doing a demanding and altruistic deed, without provocation or reason. There are so many topics within race relations and stereotypes that deserve a proper examination, but Onah’s shotgun approach hits innocent targets in a way that raises questions about the level of care put into the film’s themes and creates mixed, troublesome messages in what could have been a perceptive thriller about racial stereotypes.

3/5 stars.

2019, Recent Reviews, Reviews

Wild Rose (2019): Three Chords and the Truth

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In what has to be the strangest case of cultural appropriation, Glasgow, Scotland apparently has a country music scene. Rose-Lynn (Jessie Buckley; Beast) is a recently released convict hoping to become the next great country singer. She lives and breathes country music, is always seen listening (and singing to) the likes of Wynona Judd and Patty Griffin, and sings at a local country bar. She plans save up the money for a ticket to Nashville, Tennessee so she can make it big. In the meantime, she works as a maid for a wealthy woman.No love or knowledge of country music is needed from the audience. The genre is often derided for its references to tractors and pick-up trucks, but director Tom Harper (War & Peace) selects a variety of soulful tracks. The music is wistful and heartfelt with genuine longing and emotion underneath. Buckley, having placed second on a BBC talent show for her singing, has an incredible voice. Her vocals, especially with songs like “When I Reach the Place I’m Going”, capture her feeling of being out of place and the solace that music offers her. She says “I should have been born in America. I’m an American.” and after watching her perform, it’s hard to argue with her.

Rose-Lynn is, in no uncertain terms, a screwup. Despite her musical talent and fierce personality, she has made and continues to make many avoidable mistakes in her life. She’s a heavy drinker, quick to anger, and undisciplined. When her boss puts her on a train to London to meet with an industry insider, Rose-Lynn leaves her bags unattended so she can get drunk with other passengers and loses all her belongings. She has several shortsighted, self-destructive behaviors that undermine her chances of success.

Rose-Lynn’s children add a refreshing wrinkle to her story.

The most unique aspect of Rose-Lynn’s pursuits is her family life. Unlike most leads in a “follow your heart” type story, she has real responsibilities. She has two young children that her mother Marion (Julie Walters; Billy Elliot) has raised while she was incarcerated. Her daughter seems noticeably distant and likely resentful towards her mother for being absent from their lives and Marion has similar feelings. She wants her daughter to be the mother the children deserve, but Rose-Lynn is often irresponsible, making promises to her kids that she either forgets or ignores when her own priorities come up.

The tension between being a star and being a single mother is something that Harper keeps reinforcing. Many of Rose-Lynn’s potential big breaks directly conflict with her children’s needs and the humble, but stable life her mother wants for her. However, the film doesn’t fully address this issue and its finale, while heartwarming, is abrupt and sidesteps providing a viewpoint. Ultimately, Rose-Lynn’s story comes down to passion. She says she loves country because it is “Three Chords and the Truth” and the film succeeds based on the unbridled emotion Rose-Lynn brings with her music. There have been plenty of pop star rise-to-fame stories recently like A Star is Born, but Buckley’s winning performance and her character’s unique responsibilities are enough to distinguish Wild Rose and overcome its abrupt ending.

4/5 stars.

2019, Recent Reviews, Reviews

The Farewell (2019): Death & Family

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A struggling artist in New York has her life disrupted when she is told that her beloved grandmother has been diagnosed with terminal cancer and only has a few months to live. Billi (Awkwafina; Crazy Rich Asians) learns, to her shock, that her parents are not going to tell her Nai Nai that she is sick. The thought of having cancer, her mother explains, is just as deadly as the disease. Lulu Wang (Posthumous) writes and directs the film based on her own personal experience.

For all her comedic roles to date, Awkwafina takes a terrific turn as a dramatic actor. Her Billi has a rebellious side, but is also compassionate and understandably confused by her family’s decision. She is most concerned for her grandmother’s welfare and her right to know the truth. Her parents advise her against visiting because she is too expressive, but it is that emotion that makes her so relatable. While the rest of the characters try to act as if nothing is wrong, it’s Billi’s empathy that the audience can identify with.

Wang is able to capture the complicated family dynamic. Nai Nai is the matriarch scolding everyone for any little detail while her sons (Billi’s dad and uncle) are deferential to her authority yet Billi’s mother holds some resentment towards Nai Nai for previous conflicts. Despite this being her own immediate family, Billi is somewhat of an outsider and Wang focuses on her attempt to navigate the social norms.

Nai Nai’s tough affection makes it clear why her family loves her so much.

There is an emphasis on the compassion that drives this act of deception. While it may seem dishonest to lie to a loved one about their health, Wang shows the sacrifice this requires of the family. In many ways, not telling Nai Nai is a way to spare her worrying, but at their own expense. They go to great lengths to keep up the façade, even hiring someone to alter the results of her medical tests, and the emotional toll is clear. The family is choosing the bear the burden of her condition so that she may enjoy her last months and is willing to let the knowledge of her fate eat at them as a way of respecting Nai Nai. In examining this difficult, but well-meaning decision, Wang shows the lengths we are willing to go to protect those we care about.

The film effectively balances drama with humor. Billi can be sarcastic and several of her family members are hilarious in their antics like a younger cousin who refuses to be called “little” anymore. Nai Nai is the source of most of the humor. She’s at an age and social status in her family where pleasantries are unnecessary and she is completely uninhibited when it comes to give her unsolicited opinions and telling others what they are doing wrong. She affectionately calls Billi “Stupid child!”, but her constant admonishing can’t hide her good heart underneath. There is a pervasive melancholy that hangs over the film’s lighter moments. Everything is bittersweet. Moments of humor are tinged with regret as the knowledge that these may be the last laughs they share with Nai Nai is never forgotten. Wang has taken a very personal, culturally-specific issue from her life and adapted it into a feature that has heart, humor, and compassion for the family’s dilemma.

4/5 stars.

2019, Recent Reviews, Reviews

Once Upon a Time in Hollywood (2019): Warm Nostalgia

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Quentin Tarantino loves movies and with Once Upon a Time in Hollywood he has created a love letter to one of his favorite periods of the entertainment industry.  Rick (Leonardo DiCaprio; The Departed) is a former star of a TV western show, now only making small appearances as the villain in other programs. He, with the help of his longtime stuntman and personal assistant Cliff (Brad Pitt; The Tree of Life), make their way around town as they try to restart their careers. Parallel to this is Sharon Tate (Margot Robbie; The Wolf of Wall Street) who is a rising star enjoying her life.

There are few films with as deep a cast as this. It’s filled with cameos from Al Pacino, Bruce Dern, and many other legendary actors, but it’s DiCaprio and Pitt that steal the show. As leading men, they are as charismatic as ever, but, despite their still unfairly good looks, they show their age. Both actors have prominent wrinkles and bodies that appear weathered by time. Rick and Cliff are actors past their prime and DiCaprio and Pitt beautifully convey their reluctant aging and their diminishing role in the changing world of show business.

Rick and Cliff have a gentle, supportive friendship.

Unlike Tarantino’s previous work, there really isn’t a plot and that’s not a criticism. The film follows DiCaprio and Pitt as they go about their daily lives. Rick meets with agents and acts on set while Cliff runs errands. A significant amount of the screen time is them driving around while Tarantino gives us a tour of his vision of LA in the late 60s. It’s not period perfect, but it is accurate to his memory. Even without any connection to the location or time, the setting still evokes nostalgia for an era long gone. Sharon’s portions of the film are similarly domestic. We see her go to a screening of a movie she stars in and spend time with her friends in a completely normal, unglamorous way. This is the most humanizing Tarantino has every been and it’s a welcome change that shows the director’s maturation. Rick and Cliff are fading stars whose mistakes are endearing as they become lovable goofs while Sharon’s good-natured, unpretentious spirit is incredibly likable. Tarantino’s characters are still unique to his trademark style, but he has the confidence to let the audience spend time with them for no other reason than his own affection towards them.

The one flash of Tarantino’s genre fetishes comes at the finale. The ending is a sudden leap from what had been fairly tame, but it provides a jolt of adrenaline to the warm comfort developed by most of the film. What happens onscreen may be considered excessive, but it is also gratifying and cathartic. It plays with audience expectations and closes the film with a reminder of Tarantino’s full range of talent as it balances the brutal, farcical, and hilarious. Once Upon a Time in Hollywood may not have grand genre-defining ambitions like Pulp Fiction, but its rich characters and world are a joy to spend an afternoon with.

4/5 stars.

2019, Recent Reviews, Reviews

Yesterday (2019): Goofy Charm with Rushed Plotting

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Some people say that if they could time travel, they’d go back to buy stock in Amazon or Google. For a musician, the equivalent might be playing songs before they were ever written and in Yesterday a struggling singer gets that chance. Jack (Himesh Patel; EastEnders) is a singer-songwriter who has never been able to get a record deal or write a hit song. After a particularly bad show, he decides to quit forever and bikes home only to be hit by a bus home during a freak global blackout. When he comes to, he realizes that no one has heard of The Beatles and takes the opportunity to pass off their music as his own.

While Yesterday presents an alternate timeline, that isn’t its focus. The film touches on a few trickle down effects of a world without The Beatles, like certain other bands never existing, and gets several laughs out of Jack frantically googling things only to realize they don’t exist, but it makes best use of the premise with the world’s casual indifference towards music that we now consider legendary. As Jack tries to play “Let it Be” for his family, his father keeps disrupting him, the neighbor stops by, and his mom can’t quite remember the name. There are also several jokes about the stranger titles of Beatles songs and albums and how no modern market research would ever allow such poor branding. Despite all these touches, at its heart, Yesterday is a romantic comedy.

Ellie (Lily James; Mamma Mia! Here We Go Again) is Jack’s manager, roadie, biggest supporter, and clearly has unrequited feelings for him. Other characters point out their unusual relationship, but its importance never reaches Jack until he starts traveling. The arc of their relationship is nothing new, but it’s nevertheless enjoyable.

Ed Sheeran is hilarious as he pokes fun at himself.

The film was written by Richard Curtis (Notting Hill) and it shows in every detail. The characters have the same likable, goofy, slightly off-beat charm he is known for and there is plenty of humor. Jack’s roadie, Rocky (Joel Fry; 10,000 BC), might as well be the roommate from Notting Hill with all his social faux pas and well-meaning failures. The film’s biggest surprise is singer-songwriter Ed Sheeran. Sheeran who, playing himself, acts as Jack’s mentor and is hilarious in the self-satire as he gives Jack bad advice on how to succeed in the music industry. Curtis’s humor and charm are the film’s main draws.

While Curtis may have the greatest creative imprint, Danny Boyle (Trainspotting) is still the director. This is notably lighter fare than his usual work, but Boyle does an admirable job with the material. There are several oblique angles and a more kinetic energy to the camera movements. The story does however seem noticeably rushed. The major character changes from the second and third acts happen at a pace too quick to be believable and characters make decisions that are implausible in order for the story to reach its desired conclusion. It isn’t revolutionary and has some plot issues, but Yesterday has a unique premise and plenty of endearing characters and good-natured humor to make up for it.

3/5 stars.

2019, Recent Reviews, Reviews

Midsommar (2019): Striking Vision, Lackluster Narrative

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Dani (Florence Pugh; Lady Macbeth) is a young woman in a rocky relationship with her boyfriend Christian (Jack Reynor; Sing Street) when tragedy strikes. Her world is changed and Christian’s plan to break up with her is suspended in the midst of her suffering. Unable to say to no to her, Christian invites Dani to join him on a trip to his classmate’s hometown in Sweden to observe their traditional midsummer festival, a trip that he had initially planned without her. The celebration proves to be something far beyond what they could have ever expected.

The most striking difference between Midsommar and its peers is its visuals. Horror movies, in general, take place in the dark, the shadows, or otherwise obfuscated areas relying on the potential unseen to create fear. Director Ari Aster (Hereditary) has instead created a sun-drenched, idyllic landscape. The commune is in a lush area with brightly colored buildings that, on the surface, appear welcoming. The residents happily greet their visitors, but the picturesque setting quickly begins to raise alarm. The film’s atmosphere becomes uncomfortable as things are too perfect and the bright setting appears to hide a much darker truth underneath.

Aster displays incredible talent, but doesn’t sustain it throughout the movie. There are innovative scene transitions that seamlessly move viewers from one location to the next and a great use of tension early on. The initial event that changes Dani’s life is presented so subtly that the reveal is horrifying is its simple, but grisly details. He is a director that has a knack for letting the audience know that something is wrong, even when everything appears normal. However, this effect lessens as the film progresses. Aster is able to create mystery and discomfort when the characters and settings are unfamiliar, but can’t maintain the atmosphere for the film’s runtime.

The sunny grasslands are still an uncomfortable setting.

Pugh again proves herself to be an incredible actress. As Dani she is depressed, anxious, and eager to please with a growing distrust of her boyfriend and their relationship. Pugh makes Dani’s manic behavior believable and, while often irrational, she still engenders sympathy given circumstances. Her character arch is similar to Charlotte Gainsbourg’s character in Melancholia. She is initially the “crazy” one, but as their situation becomes increasingly bizarre, she seems the most at home. Her neediness and the fragile nature of her relationship with Christian deserves particular praise. Pugh’s performance captures Dani’s desperation for companionship, even with her suspicion that their relationship is nearing its end.

Like Hereditary, the film’s atmosphere isn’t able to make up for its narrative. As Midsommar continues and the true nature of the festival and the community are revealed, the film loses most of its appeal. These story beats are strange, but mostly elaborate on the nefarious nature of the cult in ways that aren’t particularly original or interesting. There some disturbing decisions made, but at that point the characters have become so far removed from reality with their acceptance of some of the shocking traditions that there is little connection or emotional impact to their outcomes. It has an incredible setting and a striking vision, but they aren’t enough to overcome Midsommar’s narrative problems.

2/5 stars.