Whichever way you look at it, there's a guy who feels like his girlfriend dumping him and deciding to abort a child he doesn't know about is like a gang driving his car off the road, kidnapping his wife and daughter and raping and murdering them. There's an important message about masculinity and insecurity somewhere in there, but it's buried under a gratuitous depiction of rape. An unnecessary film.
84/100 (Son zamanlarda yapılmış ve film ihtiyacıma ilaç gibi gelen nadir filmlerden oldu. İşte gerçek hayat bu, sanat bu. Ne Baby Driver ne de John Wick gibi ergen eğlenceleri değil. Eğer son 1 dakikası olmasaydı Nocturnal Animals benden 5 yıldızı bile kapmıştı. Dekorları, kıyafetleri, oyunculukları, göndermeleri ve kurgusu. Klas. )
Novel-based filmmaking of the worst kind, kind where the screenplay just "reads" the plot from its source material. The potential "psychology" of its characters gets sacrificed for immediately relatable archetypes - an insecure "conservative" girl, one-dimensional evil dog-eat-dog capitalist and a sensitive "Nice guy". Rest is shock schlock for lowest common denominators.
Films with intertwining narratives (Magnolia, Traffic, Amores Perros) - and particularly those with contrasting tones - might as well have direct access to my bank account. Tom Ford's eye for design is no surprise, and he elegantly meshes these stories together. Aaron Taylor-Johnson finally fulfils the promise he showed as John Lennon in Nowhere Boy - spitty, intense, short-fused megalomaniacs are clearly his thing.
[2nd time] The disappointment I felt the 1st time morphed into pure HATRED. Although is a stylish and beautifully shot film, I felt empty watching it. Most of my disdain comes from the problematic writing, e.g. the cringeworthy dialogs and unbalanced storylines. I must admit though that the night-highway sequence was very disturbing and well-structured, but the rest of the film just didn't live up to that scene.