I was rather rooting for this movie from about 15 minutes in. You can feel the craft and control as threads quickly begin to come together. No surprise given it is a dark fantasy by David Cronenberg (Crash). Unfortunately, the meaning and purpose all sort of drifted away by the end into the stardust it references. Perhaps I was just too dense to get the references, but even a bit of research afterwards didn’t illuminate anything obvious for me.
That said, there are some very good performances in this peek behind the surface of families and Hollywood. There really isn’t a truly sympathetic character in the cast, but there are those that are less despicable and more pathetic. However, there is no one who you can really feel good supporting or wanting to succeed, which makes the story a bit of a slog at times.
Mia Wasikowska (Alice Through the Looking Glass) is the best of the cast. She is intriguing and the most believable. The rest are all interesting to watch, but not entirely credible. Robert Pattinson (Water For Elephants) comes close, but then gets let down by the script. Julianne Moore (Maggie’s Plan) gives a brave and raw performance that is likely close to reality, but not a reality that many of us will have experienced and certainly not one that you’d support emotionally. Olivia Williams (Victoria & Abdul) and John Cusack (Chi-Raq), as bumbling parents, make a microcosm within the film that is interesting, but not much explored. Cusack does gets to explore a rather different character than his usual, which is intriguing to watch. And, finally, Evan Bird (The Killing) creates an l’enfant terrible, but without a lot of depth, only a wooden and hollow sort of desperation.
Admittedly, there are layers to this story…layers I also much admit I couldn’t uncover though it tickled my brain at the edge of understanding. Either I was trying to build patterns from chaos or I just missed the point. And, frankly, there were so many lost story opportunities to explore in the tale that it felt as surfacey as the culture it was exploring. It is also interesting to consider that this was released four years ago, before #metoo. I’m not entirely sure how reactions might differ before that boundary in culture. Within the first 5 minutes of the movie, several references are already out-of-date, not to mention nods and appearances by recognizable figures who have since died.
David Cronenberg loves crawling in the muck of people’s lives and emotions. But he is capable of good storytelling while doing so. He took Bruce Wagner’s complex script and slowly revealed its levels. But while there is a solid conclusion to the story, there isn’t a final meaning to it all. This can work when the point of the multiplicity of storylines and lack of direct connection is the intent, but not when you’ve gone to great lengths to imply a mythological or otherwise greater tale being told. It feels like a Sophomoric attempt to force meaning to come from the brain of the viewer rather than the mind of the filmmaker. Not a satisfying way to wrap your travelings through some very dark woods.