Take Shelter

I hear it so much now. Our national discourse is rich with portent. "It's going to get worse before it gets better", "Something horrible is coming, you'll see", "Soon there will be riots". I'm told these things at conventions and while talking to my neighbors and at breakfast with my mother's old friends. Now Jeff Nichols takes an exhausted phrase in storytelling, ("There's a storm coming") and crafts out of it the movie of the moment. A dark, symbolic mapping of the last five years of the middle-class American experience that's bursting at the mental and financial seams. I have yet to see a finer artistic expression of the current existential crises we face. Michael Shannon is the Noah of our hour, plagued with calamitous visions and barely bearing up under the weight of constant anxiety. In fact, the whole endeavor is buried in quiet distress and prescience. And when the movie finally finds the heart to redeem it's long suffering protagonist, it is through the worst of all possible outcomes. Essential viewing for our times.

Greetings again from the darkness. What a beautiful piece of filmmaking that up-and-coming writer/director Jeff Nichols (Shotgun Stories) delivers. Not only will the story grab you and hold tightly, but Michael Shannon's performance will stun your senses. All of that from a film with very few special effects and a story based in a quiet, rural Ohio town? Yes.

Shannon (Boardwalk Empire, Revolutionary Road) plays Curtis, a quiet, hard-working husband and father. His friend and co-worker Dewart is played by Shea Whigham (also Boardwalk Empire). Early on, Dewart tells Curtis (with a touch of envy) that he has a good life, and that's about the best thing you can say about a man. It's about this time that all heck breaks loose for Curtis. He has apocalyptic dreams and visions that a world-changing storm is coming.

Being the strong man and protective head of the family that he is, Curtis tries to keep this quiet. However, his behavior grows more strange as he builds out a storm shelter in the backyard, gets rid of the family dog, and messes things up at work. Most of this wouldn't stand out for most people, but Curtis is the "normal" guy - the one who is consistent and predictable. At least he once was.

Curtis' wife Samantha (Jessica Chastain) and hearing impaired daughter Hannah (Tova Stewart) are supportive and try to give him space, but the family demands are such that a husband and wife confrontation is not long in the making. Turns out Curtis has a family history that drives him to dig a little deeper and even seek help.

After much emotional wrangling, there is a scene at a fundraising dinner where Curtis and Dewart have it out. Shannon's rant is one of the more powerful scenes you will ever see on film, and may have just clinched him an Oscar nomination.

This is a thought-provoking and emotional film that doesn't beat you over the head. Things unfold at a natural pace, in fact, it may be too slow for some viewers. The score is haunting and never once over-bearing as we battle through these stages with Curtis.

The ending may prove controversial, but I just smiled a very satisfied smile in appreciation of one beautiful film. There could be comparisons to Peter Weir's The Last Wave, or even The Coen Brothers' A Serious Man (sans humor), but to me, this one stands on its own as a story of love, support and strength.

It seems that art films come in all shapes and sizes these days. If you look hard enough you'll find small independent art films within any genre. Take Shelter is a film you will find amongst dramatic thrillers, and it is definitely one you should seek out. It stars Michael Shannon as Curtis, a middle class family man working on the pipeline in Ohio. He leads a capable life where he must cope with his monetary issues as well as his deaf daughter. But he makes the most of it and lives a life of relative ease and compassion for his family. However, things become complicated when he starts seeing apocalyptic visions of a terrible storm he believes is on its way. The dreams and visions make his life very difficult and it becomes increasingly more stressful. Curtis must fight a battle within himself as he tries to figure out if these visions are meaningful or if he is just going crazy, as well as with his family and friends who become more disconnected from him as his sanity seems to deteriorate before their eyes. Take Shelter is a harrowing, dramatic, and slow building film that will surely amaze you once it is all over.

Take Shelter is a film that moves so slowly and builds so dramatically that one begins to wonder if we're every getting to the end. It's an incredibly quiet and sincerely somber film. We spend almost the entire movie honing in on Michael Shannon's powerful facial expressions and the deep thought going into the story. It progresses so slowly with a build up that pushes its way through molasses.

I'll admit that I was getting worried about this film not being as good as I expected it to be. I was afraid it might not live up to my expectations and that the payoff wouldn't be worth the crawling build up. But one you reach the end you will be incredibly satisfied. The payoff is incredible. I couldn't have asked for a better ending. It could not have been executed more precisely. It plays to something bigger than what you could have ever expected from this fantastic film. Just as my mind began to slip away from Take Shelter it ended with such a deep and deafening bang that my eyes flew open to realize the incredible film I had just sat through.

Take Shelter might not look like much at first, but it turns out to be a tremendous film. It's smart, engaging, fascinating, and brutally sincere. This is a must see film for 2011. Depending on your attention span you may want to give up about an hour and a half in, but if you stick around for the end you will be very satisfied. I guarantee it.

Take Shelter is an intelligent, thought provoking, nicely shot film featuring an excellent performance by Michael Shannon (an Oscar nomination, surely?), who was also great in director Nichols' previous/first film, Shotgun Stories. The film explores the line between fear and paranoia, or objectivity and subjectivity, as it's protagonist - a blue-collar family man of few words - wrestles with apocalyptic dreams and visions of a strange, possibly supernatural storm, responding to them as best he can as both literal warnings AND possible signs of mental illness. The film has a brooding, at times Hitchcockian atmosphere and a very timely feel to it (think financial and environmental disasters). Set in a rural community, we have plenty of lovely wide shots of the land- and sky-scape (also a strong element of Shotgun Stories) with some added CGI on the latter for the dream/visions. Shannon's performance constitutes at least 50% of this films worth but the rest of the cast are good too. It's a slow mover and, at around two hours and fifteen minutes, perhaps a bit too long. My wife and I did have a few criticisms after watching it (at the Sydney Film Festival), but I wouldn't want to discourage anyone from seeing this film, which will no doubt be a hot topic and bring Nichols deserved recognition when it goes on general release (September 30 2011 in US)

I'm going to try to be restrained in my praise of this film, but it's going to be hard, because I think it's about as close to perfect film-making as I've ever seen. I generally only write reviews for movies I've really loved, or really hated, and this movie I really loved.

This is a masterpiece.

I don't know where to begin, really. Leaving the cinema, I felt as though I'd had some kind of accident - a little as if I was in shock. I had a very strong physical reaction to this movie, in tandem with my emotional response, and in many scenes I felt my heart racing. This is powerful material and has been delivered with great skill. The pacing is perfect, moving slowly and quietly toward not one but several emotional climaxes, each greater than the last, allowing the audience to enter Curtis' world and share his emotions. The cinematography was beautiful, elegant, and achingly frightening at times; the dialogue was so real it hurt, and the soundtrack sinister and intense. Michael Shannon should win something for this role - he is Curtis completely and it's a complex and deeply sympathetic portrayal of the confusion of a good man, a complicated portrait of a man trying to BE a good man, in the face of his own fear. From the very beginning, the atmosphere is unsettled, and some of the dream sequences are heart-stoppingly frightening. The story is multi-layered, working with ideas of family, mental illness, responsibility, fear, the current feeling of the-end-is-nigh that everyone senses - when Curtis said, 'Is anyone seeing this?' I almost cried for him.

I have thought very hard about this film since I saw it two days ago and I simply cannot fault anything about it, not one thing. I know I'm going to see it many times. It left me shaken and moved and I cannot wait to see more from this writer/director. Hands down the movie of the century, so far.