Two young British privates during the First World War are given an impossible mission: deliver a message deep in enemy territory that will stop 1,600 men, and one of the soldier's brothers, from walking straight into a deadly trap.
A couple travels to Sweden to visit a rural hometown's fabled mid-summer festival. What begins as an idyllic retreat quickly devolves into an increasingly violent and bizarre competition at the hands of a pagan cult.
American security guard Richard Jewell (Paul Walter Hauser) saves thousands of lives from an exploding bomb at the 1996 Olympics, but is vilified by journalists and the press who falsely report that he was a terrorist.
Paul Walter Hauser,
Years following the events of "The Shining," a now-adult Dan Torrance must protect a young girl with similar powers from a cult known as The True Knot, who prey on children with powers to remain immortal.
Hal, wayward prince and heir to the English throne, is crowned King Henry V after his tyrannical father dies. Now the young king must navigate palace politics, the war his father left behind, and the emotional strings of his past life.
Composer Mark Korven centered the films score on brass instruments with some orchestral production including friction rubs, an effect achieved by dragging a wooden mallet with a rubber ball on its end across various surfaces, including wood and glass. Other instruments present in the score include a glass harmonica, designed to replicate the sound of music made by wine glasses and wet fingers, and a waterphone, or ocean harp, a stainless steel bowl with bronze rods around the rim that gives off a vibrant, ethereal sound when used with a friction mallet. See more »
Since we're gettin' too friendly, Ephraim Winslow, ell me, what's a timberman want with being a wicky?... Not enough quiet for ye up north? Sawdust itchin' yer nethers? Foreman found ye too high tempered for carryin' an axe?
It's like you said, I just... had enough of trees, I guess... Since I left dad, I'd done every kind of work that can pay a man... Some I ain't near proud of.
No, just... can't find a post I could take a real shine to, so I keep movin' along... I ain't the kind ...
[...] See more »
Greetings again from the darkness. The opening sequence plays like something from 1920's era cinema. The chug-chug-chug of a boat slamming against the waves of an angry sea while birds flap and chirp alongside. We hear the wind and "feel" the severe ocean spray. Several minutes elapse before any word is spoken. Immediately noticeable is the nearly square aspect ratio ... the rarely (these days) seen 1.19:1 frame, making the black and white images appear both surreal and ominous.
All of the above makes perfect sense when we realize this is writer-director Robert Eggers' first feature film since his 2015 indie horror gem THE WITCH won dozens of festival awards. Mr. Eggers obviously has his own vision for projects, and his approach borders on experimental, eschewing conventional. He co-wrote this script with his brother Max, and evidently much was drawn from the actual journals of lighthouse keepers ... something that is evident in the vocabulary and the effects of solitude.
4-time Oscar nominee Willem Dafoe stars alongside Robert Pattison as the two men charged with a 4 week assignment of tending to a lighthouse. The film is set in 1890, and Dafoe plays Thomas Wake, the epitome of a salty old sea dog, replete with bad leg, hardcore Atlantic accent, and upside down pipe. Pattinson is Ephraim Winslow, the assistant Wickie, who faces non-stop demands from Wake, and initially maintains a quietness as he goes about his duties ... what Wake calls the 'doldrums.' We learn little about either man's past. For Wake, other than knowing his previous assistant went mad, the clue is when he mentions "13 Christmases spent at sea" costing him a family. For Ephraim, when Wake asks, "Tell me what's a timberman want with being a Wickie?" we get some insight into Ephraim's desired future.
Eggers has delivered the anti-buddy movie. It's a bleak, slow-motion race to insanity caused by being isolated with only one other person ... a person you aren't fond of. Only this is not a director or a film content with showing two men stuck on a storm-battered rock, as they slip towards insanity. No, we viewers are forced to experience some of these same feelings - how much of what we see is actually happening? It's mesmerizing and hypnotic, and the above-mentioned narrow screen aspect purposefully emphasizes the sense of confinement and claustrophobia.
With no color and only a couple of characters ... OK, 3 if you count the mermaid ...OK, 4 if you count the seagull ... the film still manages to pound us with sensory overload. We can barely process all we are seeing, despite relatively minimal 'typical' action. The black and white images are mostly just various shades of gray, and sunshine is non-existent. Cinematographer Jarin Blaschke (THE WITCH) embraces the dreariness by allowing the fog, lanterns, candles, wind, rain, and harsh elements to become characters unto themselves. However, nothing is in sync with our two leads. Composer Mark Korven fills the many lapses in dialogue with sounds and tones we haven't heard before, yet they fit perfectly here. This is also quite likely the first film to utilize farts and foghorns in harmony.
Director Eggers filmed this on Cape Forchu in Nova Scotia, and the extreme weather and less-than-welcoming terrain create quite the visuals - as do the faces of our two lead actors. Dafoe may never have chewed scenery so delightfully as he does here, and Pattinson starts slowly before delivering his best work - including a ferocious rant that is fascinating to watch and contrast to his character's first meal with Dafoe. Is this a horror film? A fantasy? Macabre comedy? There is simply no way to describe this other than bizarre. It's truly miserable cinema, and I loved every minute of it.
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