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.
3.8 stars. One for the spooky kids. More graceful than the staccato hurdy-gurdiness of Ridley's plays (which is probably for the good since what works on stage does not necessarily on film). Intriguing that the specifically East End rhythms of Ridley's writing translate so well to the American prairie like clotted Flannery O'Connor. Really shovels it on, but no less devastating for that. It's gonna linger I can tell.
The setting is 1950s Idaho: a prototypical 'flyover America', white as Wonder Bread and empty of empathy. Not sure if we are ever given the view from outside the perspective of the boy; maybe that's the point. Blowing up animals for fun is grisly but understandable. But watching a second friend kidnapped after the first one was found dead, and not telling anyone? The rest of the film was meaningless after that point.
By far the most off-kilter coming-of-age stories I've seen in a long time. It's startlingly horrifying at times. Nothing gory or overwhelming... but chilling to be sure. The worst thing about the film is the terrible non-ending. The last scene is so ludicrous that it made me laugh out loud. I hate when a potentially great movie just completely craps the bed by not sticking the landing. Just a god awful silly ending.
Truly strange and disquieting, this film is like a Pollock painting with jarring color schemes, abstract interpretation and an unsettling nod that there is more beneath the surface. Add a sumptuous score from Ridley and you have a canvas fit for the eyes and ears. However, once you avert your gaze, you wonder what just happened and whether it all added up to more than simple artistry without underlying meaning.
Brilliant in its horror. The Reflecting Skin is awesome. It is Canadian and is about the horrific effects of superstition, small town naivety, human propensity towards cruelty and just plain lack of knowledge mixed in with evangelical religiosity. It was brilliant in its horror. Not scary just devastating. The cinematography was amazing. I think the mark of a great director is brilliant cinematography.
This sinister film about Seth, a seemingly normal 8 year old boy, whose life drastically changes when his friend is murdered and his father is accused of the crime. This unique and dark plot line of a boy’s perspective is believable as he becomes fixated on a neighbor being a vampire who may be responsible for death of his friends. I enjoyed this film tremendously along with it’s beautifully shot scenes.
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.
SPOILERS: This film creates an uneasy sense of emptiness achieved through the juxtaposition of americana imagery and the social deviance of its characters. The film seems to discourage emotional connection with its characters and instead uses them as a surface under which broods our anxieties about society. There may be much worse monsters than the ones we imagine and they may be much closer to home than we realize.
2-2.5. Stylishly and evocatively comes to the conclusion that death ruins everything and everything leads to death. Very well-acted, but flawed at a fundamental level; it basically moves without a model and with a conflict that doesn't reach much of a satisfying conclusion. It's pretty and disturbing, but cyclical and naturalistic in such a way that it kind of peters out by the end.