About the only thing I can say good about this film is that the main leads have talent. The story never really comes together and the message, if any, is somewhat empty with nothing new to say.
Helena Howard, in her first role, really manages to own the screen and show range. And Molly Parker (Lost in Space) is a model of a mess along with Miranda July, both of whom serve as mother figures to Howard.
I will grant that Josephine Decker direction manages to pull you along an impossibly obtuse plot that seems to keep verging on meaning, but just as quickly falls apart. It is most certainly not meant to be taken as reality or at face value, but there are nuggets of “truth” in there that help build a world and the characters. Sadly, in the end, it is allowed to simply fall apart. I am all for non-traditional story-telling, but it has to get to a satisfying point to have made it worthwhile. In this case, it just didn’t get there.
The term “patient zero” is overused in bad science fiction and horror. It comes from epidemiology and is an important concept in figuring out where a disease started from and how it spread. When method of transmission isn’t obvious, it is useful in identifying the cause of the spread (like a contaminated water pump). But when you’re just trying to find a cure, any old infected individual (or group of individuals for sample size) will do. And, should you have anyone that is resistant handy, you’re way ahead of the game.
So why do bad movies always try to find “patient zero” in the midst of zombie Apocalypse to find a cure when they’ve got 100s of zombies to sample for tests? I have no idea. There are ways you could write around that to try and make it necessary, but I’ve not found a solution in practice that makes it believable.
The cast tries, but really doesn’t succeed, in making the story credible. Matt Smith (Pride and Prejudice and Zombies), along with his bad American accent, tries to make the most of his role. Natalie Dormer (Game of Thrones) tries, but the script does its best to make a smart woman seem dumb. Fellow Game of Thrones-er John Bradley fares way better in a comic role. Stanley Tucci (Final Portrait) sinks his teeth, no pun intended, into his role more than the rest, but he was given the words to do so. His character is still only a shadow and with limited motivation and value to the story. And Clive Standen (Taken) is just embarrassing as a character and as an actor.
Basically Stefan Ruzowitzky took a weak script by Mike Le and didn’t manage to make anything of it. What you’re left with as an audience is a silly story with a lot of splatter, growling, and yelling. Hey, if that’s your thing, this is your movie. So, despite a potentially interesting cast, this movie is truly something to avoid.
If you want something a bit, ahem, meatier, but with way better results, see The Girl With All the Gifts. That, at least, has a complete story and some solid choices to carry you through.
Often when I use the tag and term “unique” I mean it as a compliment. This is not one of those times. This is a misguided, lost, often laughable attempt at horror surrealism, with a nod to gaming, anime, and heavy metal cultures. In fact, it does come across as an uncomfortable mashup of Hellraiser, Heavy Metal, and Reefer Madness. It is not a pretty result.
While Nicolas Cage (Snowden) is a love him or hate him kind of actor, he certainly put his all into an impossible role. So did the rest of the cast. Andrea Riseborough (Disconnect) and Linus Roache (Non-Stop) are of the better heeled talents in this outing that try to do what they can with their scripts.
Director and co-writer Panos Cosmato had a vision. He probably got it on shrooms, or some similar hallucinogen. And that’s fine and has worked for plenty of artists in various media. However, if the result isn’t something that a greater audience can follow or connect to, they have failed. Admittedly, this film has a following, it is what got me to watch it and stick with it to the end…I had to see why it had such strong supporters. I still don’t know. It is, quite frankly, juvenile, predictable, absurd, and full of issues in plot and logic. Even the surreal has rules and awareness; this did not.
Honestly, if you are looking for a head-trip horror, see Suspiria (either version) or Hereditary. Or, if you’re looking for a movie about cults or charismatics, try MarthaMarcyMayMarlene. Otherwise, skip this ham-handed effort.
Just run away. How and why John Cusack (Maps to the Stars) and Carmen Argenziano (Future World) ended up in this mess is beyond me. The logic and story of Robert Kouba’s first feature film is broken beyond explaining. Even the production design is wrong, though the effects are relatively well executed. The result is a bad Saturday morning movie, not even worth the popcorn you might want to make to carry you through it. Singularity was obviously meant as either a series or pilot, but I can’t say there was anything that would get me back to see what happens next.
Despite the two larger names, Julian Schaffner and Jeannine Wacker are the main focus of this story. They were not well served by Kouba’s script or direction. They also have no chemistry between them at all, which is necessary to pull off the motivations. But on an even larger level, Kouba shows a complete lack of understanding of what the “singularity” is and how it would fall out, turning it instead into a Terminator wannabe rather than a real examination of how it would manifest. Even 2036: Origin Unknown, for all its faults, gets it way better.
And that is enough time spent on this sadly missable attempt at high-concept science fiction/love story/apocalypse. If you venture into it, it isn’t because I didn’t warn you.
Sometimes bad films happen to good casts. This is one of them.
Myles Truitt (Queen Sugar) does an admirable job carrying the film. Jack Reynor (Free Fire) and Zoë Kravitz (Gemini) support him nicely. Dennis Quaid (A Dog’s Purpose ) does well with what he has to work with. Though, honestly, I couldn’t get James Franco’s Future World performance out of my head while watching this variation on his damaged (and stupid) bad guy. They all try hard to make what is a weak script with lousy plot choices better, but none of them can overcome its inherent weakness.
There are so many ways this movie goes wrong. Some of them are not its fault. There are intentional choices, that I respect, but which were executed poorly. The intent was to make a small, intimate and personal film about family and a kid coming of age in extraordinary circumstances. That shouldn’t have precluded making it more dynamic and interesting, but in this case it did. The pacing is slow and while the stakes are high, the emotions just aren’t there. The other problems were just bad choices and bad writing. And there is lots of both.
To be fair, I really was hoping for something a bit more Attack the Block than Sleight. In the end it was really just a weak prequel to a story we’ll never see. It comes off more as a bad TV pilot rather than a franchise launch. All of that is at the feet of Jonathan and Josh Baker and their writer, Casey, who penned the adaptation of their previous short film, Bag Man. In expanding that small idea into something new, the group made the fatal error of holding back all the interesting ideas till near the end. In trying to make a film about family, despite its trappings, they completely misjudged their opportunities when it came to the story. You aren’t left at the end looking forward to seeing what comes next, you’re wondering why the heck you had to slog through what came before to get left hanging just as it got interesting.
There are moments and short sequences that really show some directing promise from the Bakers; I would definitely give them another chance. Certainly their judgement to take the script they did is suspect, but there is ability there. However, I wouldn’t waste your time on this first outing in theater. If you want to check it out on disc or stream at some point where you can yell to your heart’s content at the characters or simply walk away without guilt, do that instead.
Where to begin with how bad this is? How about with this as a guide: The most believable actor in the whole thing is Milla Jovovich (Resident Evil, Survivor). No offense to Milla, as engaging and entertaining as she can be she hasn’t shown herself to be Oscar winner material. When you figure that she dominated a cast that includes James Franco (The Disaster Artist), Lucy Liu (Kung Fu Panda 3), Suki Waterhouse (Pride and Prejudice and Zombies), and even a bit by Carmen Argenziano, it was certainly a disappointment. The only reason I made it to the end of this travesty was because of how short it was.
I can see why many of the folks involved did it. This insanely bad riff on Mad Max meets Blade Runner meets Cyborg (and many other unnamed classics) provides opportunities for fights, stunts, and dirt biking galore. However, the script is ill-thought-through, with ridiculous dialogue, and devoid of all emotion other than a healthy does of misogyny and rampant male fantasy. But when you’ve got 3 directors and 4 writers, I suppose you should realize you have a problem.
If I haven’t been clear yet: run away and never look back. This isn’t worth the time you’d waste even making up the drinking game that could (possibly) make it survivable. It isn’t the worst post-apocalyptic mess I’ve ever seen (seriously, that is still The FP), but it ranks pretty far up there.
To riff on a theme from this empty, poorly-directed distraction, life is too short to waste it on this movie. Ron Shelton (Bull Durham) had some fun ideas and a very talented cast, but no sense of pace or character. Honestly, I turned it off after half an hour of waiting for it to gel.
I consider myself to have a fairly wide range of likes from the cerebral to the purest popcorn. However, I couldn’t even finish watching this movie. By 15 minutes in I had to turn it off. And I did that on an evening I was looking for something silly and escapist.
I will say that the mixed CG/reality was rather well done. And the script was actually willing to hold onto some of the darker aspects of the original tale. But there was something about how director Will Gluck (Easy A) paced and set the tone of the story that just didn’t work for me. Honestly, unless you’re somewhere between the ages of 5 and 8, I’m pretty sure it won’t really work for you either. Even Early Man, for all its faults and lack of an adult hook, was more watchable.
Some movies are inscrutable, but at least this one is long and subtitled to boot. And I do mean long for this kind of movie; it clocks in at 150 minutes.
At best, The Square is a series of vignettes about man’s inhumanity and the definition and business of art, held together loosely by a single event. But that’s being somewhat generous. I think Ruben Östlund had aspirations of updating The Cook, The Thief, His Wife, and Her Lover; assailing the limits of our willingness to intervene and help one another, and the taboos that sit at those boundaries. Frankly, he failed, giving us some nuggets of thought, but never grabbing us or pulling it all into a single, clarifying instant. The movie simply peters out, unresolved and unsatisfying. I guess Östlund would ask, did that make it art? His previous Force Majeure much more successfully ranged across humanity while focusing very specifically on individuals.
It isn’t that there aren’t some interesting questions in the film. And the peek behind the scenes of museum purchasing and marketing is interesting and disturbing, to be sure. But that isn’t enough to to make a movie. And if he wanted to turn the movie into a virtual square itself (which I do think he intended), Östlund should have begun and ended the film in 4:3 aspect rather than 16:9 to make the point.
The story is dominated by Claes Bang (The Bridge) whose awakening to the world around him is full of unrealized potential. He is clearly a well-to-do man in a position of power, and full of self-importance. Watching that surface erode, first with humor and, eventually with some humility, is intriguing. But we never connect with him in a way that makes us care. It is halfway through the tale before we even know he has kids; which is part of the point, I’m sure, but it just doesn’t work.
At the periphery of the story are Elisabeth Moss (Top of the Lake: China Girl) and Dominic West (Money Monster) who each bring a little of the outside world to Bang. They aren’t brilliant performances, but they’re probably the only faces you’ll recognize in the film.
One interesting, recurring bit part is played by Terry Notary. What makes it interesting is that he has stepped to our side of the motion capture suit to appear as human rather than as creature, as he has in Kong, Planet of the Apes, The Hobbit, etc. His casting is surely meant as another intended commentary on art, but you’d have to know who he is to even trip over the point.
Ultimately, this is a heck of a lot of time to spend in a world that is neither compelling nor fully realized. I can only think that the awards it won was due to people being duped into it being art, much like some of the odder installations in the movie itself (which isn’t to say those examples couldn’t be art, but even the story chips away at the core of that idea).
Personally, my though is that you could take the time you’d spend on this movie and see two other films that are much better…and you should.
The last film Yorgos Lanthimos directed and co-wrote with Efthymis Filippou was the oddly compelling and flawed The Lobster, which captivated a significant section of the film world and earned them an Oscar nod. Despite some early rumblings about Sacred Deer, it has nowhere near the sense of dark whimsy nor fascinating alchemy that The Lobster did. In fact, it is a bit of a boring mess that never pays off, though teases with many promises.
Much like The Lobster, the entire film is structured to get to the final moments, or final scene and coda in the case of Deer. It is a powerful couple of images, but they mean nothing because the previous two hours were spent laying out plots and ideas that went nowhere and had no support.
It probably didn’t help that Lanthimos prefers a presentational style of acting akin to pure Brecht; flat, stated rather than “acted,” allowing the ideas to be formed by the audience rather than manipulated or guided by the characters. It is a very intellectual approach to theatre and it is rarely as blank as Brecht probably wanted. However, if the ideas aren’t there to be formed, a lack of emotional connection simply distances and bores an audience.
[For a really good documentary and an interesting look at such a production done well, watch Theater of War that chronicles a production of Mother Courage starring Meryl Streep at the Papp.]
Given that Colin Farrell (Roman J. Israel, Esq) and Nicole Kidman (The Beguiled) lead this cast, a lack of connection is near criminal. Scraping against them and their family is the creepy Barry Keoghan (Dunkirk), who creates a twisted combo of Crispin Glover and Paul Dano to drive the story as best he can. Sunny Suljic and Raffey Cassidy (Tomorrowland), as the children of Kidman and Farrell, struggle in this film to make an impression. Cassidy gets more opportunity, but neither ever make sense of it all and so their performances simply fade away.
And that, in the end is the real problem. The Lobster certainly left audiences with questions and debates around its ending. But there was context for that debate; there had been a story, however weird, that latched into base, human needs and desires. You couldn’t not talk about that film for days afterwards. Sacred Deer reaches for something similar but misses the grab leaving the rest of the story just a series of forced vignettes and actions that have nothing driving them. It is a credit to Lanthimos that I kept thinking there was something coming, which is what kept me watching for two long hours. But, having never paid it off, I left the movie angry and frustrated rather than contemplative or in the mood to discuss it.
Even though I finished it, I can’t give it my normal 2 stars in rating for getting me to the end, because there was no end there. However, it is beautifully filmed and with competent actors that delivered a clear and consistent (if pointless) vision, so it isn’t a 1 star film either. Suffice to say: skip it. I’m sure Lanthimos and Filippou will deliver something down the road, but this movie is better shelved and ignored, except by film classes who wish to dissect it for craft.
Art, writing, life explained… or at least commented upon…