Tag Archives: psycho-drama

Unsane

23 Mar

 

 

There’s little room for debate that Stephen Soderbergh’s one of the most intriguing directors working (Paul Thomas Anderson and Nicolas Winding Refn are also on that list, to give you a taste). There’s not much the “considering retirement” auteur hasn’t tinkered with: non-professional actors (“Bubble”), a “serious film” staring a porn actress (“The Girlfriend Experience”), a Liberace biopic (“Behind the Candelabra”) and of course more mainstream fare such as “Traffic” that scored him an Oscar. Many of Soderbergh’s films, such as “Magic Mike,” the “Ocean’s” films and “Logan Lucky,” possess a playful wit. He seems to be able to conjure up a hip nod and a wink on a dime and adroitly inject a seam of bleak reality as need be (see “Contagion,” or “Sex, Lies and Videotape”). Here Soderbergh tries something new – not groundbreaking, to be sure, but genre-savvy nonetheless and shot on the down low with iPhones (not new, as Sean Baker did a similar trick for his quirky indie gem “Tangerine”). Despite all those curiosity-piquing tags, the result’s a muddled mix of great performances, edgy atmosphere and infuriating “is this really happening” plot twists.

If you’ve caught any of the trailers for “Unsane,” you might think it’s somewhere between ’80s (well 1979, to be exact) B-roll from “When a Stranger Calls” and M. Knight Shyamalan’s “Split” (2016). It lies somewhat closer to “One Flew Over the Cuckoo’s Nest” with elements of the aforementioned flicks sprinkled in, and it’s a tough movie to discuss without spoilers. We meet up with the gloriously named Sawyer Valentini (Claire Foy from “The Crown”) a young woman who works a generic job in a generic office with a married male boss whose mawkish demeanor and suggestion for a team trip – just them two – verges on a #MeToo violation. Sawyer, no pushover, seems to know how to control the situation and exits with an awkward, “I should get back to work.” She also seems to know what she wants, hooking up with a guy on Tinder, telling him the night will go his way, but in the morning he has get out and forget they ever met. Back at Sawyer’s pad just before the event goes down, Sawyer has a breakdown. Said dude, wise to the cloud of dysfunction, exits and then, through late-night Google searches for support groups and therapists, we learn that Sawyer has been the victim of a stalker up in our blessed Boston and relocated to a Pennsylvania burb to escape her pursuer’s reaches. Continue reading

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mother!

15 Sep

‘Mother!’ Is A Provocative, Swirling Contemplation On Our Relationship With The Earth

Javier Bardem and Jennifer Lawrence in a scene from "mother!" (Courtesy Paramount Pictures via AP)closemore

Biblical allegories and weighty world matters abound in Darren Aronofsky’s latest tempest of anger and wonderment that takes mankind to task. Part horror story, part existential ponderance and ever doing cinematic backflips, “mother!” is a movie that certainly won’t be everyone’s cup of tea. But those who see it are certain to be held rapt from the very first frame to the film’s fiery crescendo.

Things begin serenely enough as we catch up with a young woman immersed in restoring a grand country manse, where there no cell service and nothing but trees and grass as far as the eye can see. The woman is never identified onscreen, but called “Mother” in the credits — and Jennifer Lawrence carries her heavy emotional burden well.

Her selection of earth tones to plaster the walls is of no coincidence. She tends quietly to these finishing aesthetics as her husband (Javier Bardem), identified in the credits simply as “Him,” broods about struggling to reboot his creative juices. He’s a beloved poet who’s been blocked since the death of his previous wife and is wildly possessive of the crystalline shrine he has erected in his study to memorialize her.

His aloof peculiarity strikes a chord early, but then again he’s a creator and, as with anyone whose artistic process breeds success, idiosyncratic methods often get overlooked. Then “Man” (Ed Harris) shows up, believing the stately octagon shaped estate is a B&B. The two men get bombed as if they’re old friends and later, Man wretches up an organ. Then there’s that troubling picture of Him that Mother finds in Man’s bag. Continue reading