Another film by Winding Refn which is decisively weaker than the lead actor. Where Torturro uses precision and nuance to deliver a credible portrait the direction meanders between flat symbolism and cheap expressionism. What could have been an engaging meditation on grief and remorse becomes a bargain Lynch trip into looney conspiracy-country.
Zapruder all over again, that is to say another Blow-Up-ish thriller. Since the Kennedy assassination we did learn that a filmed image is not to be taken as a documented Truth anymore. You have to understand it, analyse it, break the code to make it speak. NWR comes late with this film hommage to a genre that Pakula masterized long ago.
I felt back in Twin Peaks, complete with kafkaesque "law enforcement agents". What is obviously missing though is the demonic vision of the deep world that made Lynch's movies so disturbing. Absent that, we are left with a psychic who-done-it and some tortured characters...
Getting past the past bereavements has always been a tough task;in which for the most suffered or the ones who made the others suffer, would be the most difficult. Fear X tries to distinguish between the suffered and the latter in one single character; In other words,exactly like the approach used in "Lost Highway"! Its inaccurately calculated ambiguity,fails to offer something different/newer than Lost Highway. / C+
Two days after watching it I forgot almost everything about that movie. What I remember: It felt like experimenting with a couple of styles which are not developed by the director himself but rather copied from others (e.g. Lynch or the Coen-Brothers). I like Refn very much and if this movie helped him finding and defining his own style then it served its purpose anyways.
5/10. The epitome of a B movie. Its climax looks like Refn is showing us a screensaver animation from Windows XP. Paranormal activities, you see! Or, Turturro's character: I felt dearly for this good man, but does he have to be so gobsmackingly unsuspicious? Oddly, this mystery thriller is suspenseful nonetheless. Feels like an otherwise fine episode of The X Files lacking Mulder & Scully.
After "Pusher" this movie is far too over-ambitious. In trying to assimilate stylistic elements of David Lynch's filmic language (and also using the similar but less sophisticated sound design of Brian Eno) Refn looses the grip on his own, very strong vocabulary (which he luckily restored and intensified in "Pusher" II & III). Nevertheless the film has its fascinating moments.