Ridley weaves a bold tapestry of iconography. From the desolate dreamscapes of Andrew Wyeth to the relics of 50s Americana & its A-bomb paranoia, the artist creates a startling & often strangely funny evocation of a damaged youth. The cut, from the image of a child blowing away the burning embers of immolation, to a shot of the golden wheat field dancing on the breeze, is perhaps the greatest moment in film editing.
A poetic as well as disturbing childhood story, full of fantasies, illusions and hidden violence. I remember first watching it in the 1990s, and the first impression of the pictures (and the very atmospheric score of Nick Bicât) still lingers. I consider the ending as perfect closure of the events.
Another ol' childhood favorite dolled-up all 2K (or whatever) and color graded to perfection. You know what? Wasn't shot too far from my grandparents' farm. So, yeah: it speaks to me. Maybe this is the final word on innocence and the Gothic. I mean: really. The thing about innocence is that it produces monstrousness in the guise of limited culpability. And this is expressionism, people. A troubled rendering.
FANT '15 (tribute section) ...'Sometimes terrible things happen quite naturally...' Ridley delivered one of the best debut directorial efforts of the nineties with this little seen gem that deserves to be wider seen. A prairie setting, child murders, sadism and a child's belief in vampires are just some of the elements in this well written and mesmerizing film. Lindsay Duncan gives a very memorable turn here.
I love the way this film maintains its level of creepiness. It's as if this kid is living in a town full of insane people. It's no wonder that he turned out the way he did. I also admired the venom that Viggo had for his brother, which you probably don't see in most movies.
An absurd tale of fervently religious small-towners, impressionable young boys, and vampire lore. A young boy, Seth, fills his childhood days becoming obsessed with absurd notions of vampirism and impending doom for his brother, instead of focusing on real problems surrounding him and his family. Although the ending was weak, the rest of the film is idyllic on the surface, but dark and perverse deep down.
Very good, but hard to watch. Not in a technical way, in a 'how many emotionally distressing scenes in a row can you handle?' kind of way. It's well told, beautifully shot, and deeply unsettling. Calls to mind Ian Banks' The Wasp Factory.