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In this enchantingly cracked fairy tale, the beautiful Princess Buttercup and the dashing Westley must overcome staggering odds to find happiness amid six-fingered swordsmen, murderous princes, Sicilians and rodents of unusual size. But even death can't stop these true lovebirds from triumphing. The Princess Bride 1987 review :
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When a border guard with a sixth sense for identifying smugglers encounters the first person she cannot prove is guilty, she is forced to confront terrifying revelations about herself and humankind. Border 2018 review : _Eraserhead_ who?
_Final rating:★★★ - I liked it. Would personally recommend you give it a go._ _**Supremely weird and morally ambiguous; certainly not for everyone**_
> _If the external physical examination didn't produce any results, she would apply for a warrant allowing a doctor to carry out a proper search. Check every orifice._
>_Robert came out, made a comment to the occupant of the room, and closed the door behind him. Tina hurried over. Her heart sank when she was only halfway across the hall; Robert was shaking his head._
>_"Nothing?" she asked._
>_"No," said Robert. "Well, nothing that concerns us, anyway."_
>_"What do you mean?"_
>_Robert drew her a little di__stance away from the door._
>_"Let me put it this way: you can rest easy. He did have something to hide, but nothing punishable by law. The problem is that we've now stopped him twice without..."_
>_"Yes, yes. Do you think I don't know that? So what is it, then?"_
>_The thought had struck her, but she hadn't seriously considered what Robert was suggesting: the fact that they might have been guilty of professional misconduct. Subjecting Vore to an examination on two separate occasions without any solid evidence for doing so. If Vore made a complaint, they would probably be reprimanded._
>_"The thing is," said Robert, "he's...he's a woman."_
>_"Come on, stop winding me up."_
>_Robert folded his arms and looked uncomfortable. With exaggerated clarity he said, "He...or rather she, does not have a penis but a vagina, to use the technical term._ You _should have carried out that search, not me."_
>_Tina stared at him open-mouthed for a few seconds._
>_"You're not joking?"_
>_"No. And it was rather...embarrassing."_
>_Robert looked so miserable that Tina burst out laughing. He looked at her, his expression furious._
>_"Sorry. Has he got...breasts as well?"_
>_"No. He must have had an operation or something. I didn't actually ask. He's got like a big scar just above his bum, by his tailbone. Whatever that might be. Now it's_ your _turn to talk to him and try to explain that -"_
>_"What did you say? A scar?"_
>_"Yes. A scar. Here." Robert pointed to the bottom of his back. "If you want to take this any further, you can do it yourself." He shook his head and headed off towards the cafeteria. Tina stayed where she was, looking at the closed door. When she had thought things through she opened it and went in._
- John Ajvide Lindqvist; "Gräns"; from the short story collection _Pappersväggar_ [_Paper Walls_] (2006), republished in _Låt de gamla drömmarna dö_ [_Let the Old Dreams Die_] (2011)
Based on the short story of the same name by John Ajvide Lindqvist, written for the screen by Lindqvist, Ali Abbasi, and Isabella Eklöf, and directed by Abbasi, _Gräns_ [_Border_] is an intimate character drama, a study of loneliness, a romance, a police procedural, a body-horror, an investigation into what gives us our humanity, a psychological thriller, and a crime movie, set in a half-realist/half-fantastical _milieu_ which sees a woman who can smell guilt and commune with animals working as a customs agent at a small Swedish port. Because, obviously! However, no matter how fanciful the plot becomes, it remains grounded in an emotional realism which serves to normalise the outrageous events we're witnessing.
Also a socio-political allegory and a mythological fable, _Gräns_ is indefinable, switching fluidly from one genre to the next and one idea to the next, taking in such issues as the Other, the tribe, social ostracisation, social assimilation, and our tendency to rush to superficial judgements of that which we don't understand or which is different. Superbly acted and directed, there are, of course, a few problems; a subplot that feels disconnected from the main narrative, a ridiculous coincidence (the likes of which only ever happens in films), a twist you can see a mile away, and a pronounced moral ambiguity which is extremely difficult to parse. Nevertheless, this is unique filmmaking, which raises all manner of questions about how we act towards others, a crucial theme in a political arena which has seen an unprecedented growth in casual racism and xenophobic hatred.
Tina (a superb Eva Melander, acting under heavy prosthetics) is a customs officer with the ability to smell guilt, which makes her exceptionally good at her job. Suffering from deformities that give her a somewhat Neanderthal-like appearance, she lives an isolated life with her boyfriend Roland (Jörgen Thorsson), who is more interested in his pet Rottweilers that he is Tina. Unable to have sex because it hurts her too much, she and Roland sleep in separate beds. As the film begins, Tina intercepts a man (Viktor Åkerblom-Nilsson) carrying child pornography on his SIM card. It transpires that the police have been attempting to crack a prolific child porn ring for several months without any luck, and needing all the help she can get, the lead detective, Agneta (Ann Petrén), asks Tina to assist on the case. Meanwhile, Tina is shocked to encounter Vore (an extraordinarily physical performance by Eero Milonoff), who has the same deformities as herself. Although she smells something on him, she isn't sure what it is, and she lets him through customs. A few days later, he passes through again, this time volunteering to be searched. Her colleague, Robert (Andreas Kundler), conducts the body search, but quickly discovers that Vore has a vagina. When he tells Tina that Vore also has a large scar on his back, at the base of his spine, she is shocked, as she too has such a scar. She visits her father, Birger (Sten Ljunggren), who is suffering from early stage dementia, to ask about her scar, which he says she got from a fall when she was three. Intrigued by Vore, Tina meets up with him and offers to let him stay in her guest house, much to Roland's chagrin. Back on the trail of the child porn ring, Tina is able to identify the apartment in which the filming is taking place, and although they bust those in the apartment, they are unable to find anything on who may be trafficking the children. Meanwhile, back at Tina's house, she and Vore begin to grow closer, until a fierce thunderstorm brings them together in ways they never expected.
Given the fantastical elements of the plot, one of the most interesting things about _Gräns_ is how grounded in realism the aesthetic is. According to Abbasi, the
> _story is stylised, it's not realism; there are other elements, and it's elevated. So we thought instead of going with that, with stylised shots or framing that kind of signals something_ special _is going on, we tried to go the_ other _way. Instead of going with the magical, we went with the realism in our cinematic language, which I think was the right thing to do because it kind of anchors the realism. Because if it wasn't_ real_, you probably wouldn't care about Tina._
Abbasi has a point here - one of the strongest elements of the film is how emotionally engaging and relatable Tina's arc is; the events are fantastical in places, but the emotions are very much grounded in the everyday - loneliness, shyness, fear, love, disgust etc. The magic realist aesthetic allows the more unusual elements to exist without seeming (too) ridiculous, whilst also establishing that the world of the film is essentially the real world, just with some garnish added (in a strange way, it actually reminded me of Phil Alden Robinson's _Field of Dreams_ (1989), a film set in a realistic _milieu_ that also features, without commentary or explanation, ghosts, communication with the afterlife, and time travel).
Abbasi does set up a contrast, however, between the scenes in the forest which surrounds Tina's home and the rest of the locations. The forest is presented as a somewhat magical place from the start - it is where Tina is most comfortable (an early scene in which she chills with a gigantic moose is both illustrative of her psychology and extremely beautiful), where she goes when life starts to overwhelm her, often taking her shoes off so as to feel better connected to the natural world. Later, the forest is where Tina and Vore spend a lot of their time, where they give in to their attraction to one another (in what is easily the most bizarre sex scene outside a Lizzy Borden film you're likely to see all year), and where they explore their history. Whilst everything else is filmed with a cold palette dominated by grey and washed out light blues and greens, with relatively unattractive locations, the forest is presented very differently - the colours are richer and deeper; the design elements are more imaginative; the camera work is more fluid; even the sound design is different, heightening the crunch of feet on the forest floor, the scurrying of insects, the wind blowing through the trees, the crash of water at a small waterfall, suggesting the whole place is vibrant and alive, in stark contrast to the cold stolid concrete and steel world seen elsewhere.
Thematically, _Gräns_ functions as both a straightforward narrative about loneliness and morality _and_ as a political allegory about the Other, belonging, tribalism, hatred based on difference. The opening scene establishes Tina as the emotional lynchpin of the story, showing both her kindness and her attraction to the animal world, as she gently handles a bug, before carefully placing it back into the grass. This theme continues throughout the film - there's the aforementioned scene with the moose, a scene with a fox at Tina's window in the middle of the night, a scene in which she is rushing her neighbour to hospital to give birth and stops to let a family of deer cross the road. These scenes are shot by cinematographer Nadim Carlsen with a sense of wonder, and an almost ethereal quality that wouldn't have been out of place in something like Ridley Scott's _Legend_ (1985) or Rob Reiner's _The Princess Bride_ (1987). It's as far removed from the mundanity of the customs desk or the brutality of the child porn ring as you can imagine. This is also reflected in the sex scene, which Abbasi and Carlsen shoot in such a way as to imply that Tina and Vore attain an emotional and spiritual transcendence far removed from the commonplaceness of an orgasm. The fact that immediately afterwards, as they lie side by side in the forest, he tells her the history of their "species", solidifies the role the forest plays in the themes of the film, as their bond serves to deconstruct societal norms.
For all her closeness to animals, however, Tina is just as distant from humans; she has a good relationship with her father, with Robert, and with a young couple who live nearby (Tomas Åhnstrand and Josefin Neldén), but her relationship with Roland is dysfunctional at best, and she's desperately lonely, in a society that shuns based on appearance. Indeed, one of the most salient themes in the film is the question of how we treat the Other, people who don't fit into our definition of normal, or whom we don't understand. Vore himself is introduced as something of a rebel against social norms; whereas Tina is ashamed of and tries to hide her differences from everyone else, he is proud of and leans into his - seen most clearly at a buffet, where he takes all the smoked salmon, and then hungrily eats it with little concern for social etiquette (or buffet etiquette).
The film also touches on issues such as what gives us our humanity, suggesting that in a world populated by humans lacking in humanity (seen most clearly in the child pornographers), maybe Tina and Vore are the most human characters, or certainly the most humane. Tied to this is the notion of finding one's tribe, and what kind of sacrifices and subversions of one's moral code, if any, are acceptable in that search. However, the film is also interested in the audience's morality as well as that of the characters'. In short, it ends in an extremely morally ambiguous manner, and, to be honest, I found it very difficult to parse what Abbasi (or Lindqvist) is trying to say with it. I don't want to give any spoilers, but in essence, Tina is forced to make decisions based on her own morality, at the expense of her emotional instincts, whilst Vore must attempt to justify something horrific (actually several things horrific) by way of arguing that humans have always persecuted beings like them. I'm not sure if the film had a happy ending or not, and although I got most of the symbolism and the allegories and the socio-political critiques, I've rarely come out of a movie with such a pronounced case of "what was the director trying to say with that?"
Elsewhere, the whole child porn subplot is troubling from a narrative point of view. For starters, it's not very convincing in its concrete details (for example, Tina is allowed sit in on a suspect interrogation), whilst the idea of a couple running a child porn ring from their apartment seems a little unlikely. Additionally, for the most part, the subplot serves to do little but detract from the main plot. I get that it's there to show us Tina's abilities and her moral code, but too much time is given to it without it being made to seem in any way urgent or important. And when it is finally integrated into the main narrative, it does so with a plot twist so telegraphed, if you don't see it coming, you've never seen a thriller before. Also, when we learn how the two plots connect, and when we backtrack in our mind to the start of the film, we find that the entire house of cards relied on a monumental coincidence which none of the characters could possibly have predicted, which cheapens both plot strands.
These missteps aside, _Gräns_ defies and subverts genre at every turn, remaining impossible to classify. Positing a message about how being different isn't that bad when you still have your morals and self-respect, it also suggests to those of us that consider ourselves normal, that we shouldn't be so quick to judge the Other, whether that Other is physically different, of a different ethnicity, a different religion etc. Exposing the layers upon which our society is built, the film is unafraid to suggest that hypocrisy and exclusion are major facets of Western civilisation. At a time when there are increasing calls for closed borders, increasingly irrational fear of the Other as represented by normal men and women who practice Islam, and increasingly jingoist and xenophobic hatred of anything not perfectly in line with established societal norms, the fact that Tina wants to integrate into normal society, but is essentially prevented from doing so, speaks volumes for our social ethos. The plot does go off the rails in the third act, and the morality of the _dénouement_ is a little questionable, but this is still a fine piece of work with a lot on its mind.
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Every year, there are a couple of underrated and/or overlooked movies. Greta is 2019’s first film to belong to both categories. It was definitely overlooked since Hellboy stole the spotlight, and it’s also underrated based on online feedback. Critics being divisive is kind of expected, but audiences are disliking Greta more than the former group, which I find quite surprising. Nevertheless, I enjoyed a lot and that’s mostly due to the outstanding performances of its leads. Isabelle Huppert is incredible as Greta, as expected from such an acclaimed actress. Her character has a very mysterious personality which is well-developed throughout the runtime. Undeniably, her character’s past and decisions turn out to be a bit questionable, in terms of logic. I don’t believe that it’s straight-up rubbish, but I can’t deny that some aspects of her persona lack consistency and sense. Fortunately, it’s nowhere near Serenity‘s level of absurdity. In the end, Huppert elevates her script and delivers a creepily captivating display.
Chloë Grace Moretz is one of the most talented young actresses out there, and I already stated a few years ago that she will be a much-desired star, sooner or later. In this movie, she shows off the subtlety of her expressions at the same time that she proves how amazing her range is. She embodies the charitable and innocent personality of her character like she is, indeed, Frances. Two wonderful performances that become even better due to the palpable chemistry that the two actresses have with each other. With such a short runtime, their interactions are interesting in the beginning, becoming more and more intriguing as time goes by. In addition to these two, Maika Monroe (Erica Penn) surprised the hell out of me! Not only her character doesn’t follow the stereotypical “blonde, dumb friend”, but she really offers an exceptional performance.
The screenplay does have some narrative issues, being most of them related to Greta, as mentioned above. It’s hard to imagine that what happens in the second half of the film could occur in real life as it’s depicted, which instantly kills most movies. However, it’s not as unbelievable as people might think at first, and after some thought, it’s actually pretty reasonable, having in mind the psychological factor. It doesn’t separate itself from the genre’s cliches and it’s quite predictable throughout, even though the ending comes as a nice surprise. It’s the typical B-movie that’s good to see at home on a Sunday afternoon, but if you catch it in the theaters, you won’t regret the money spent.
Greta is 2019’s first underrated and overlooked film. With two extremely captivating performances by Isabelle Huppert and Chloë Grace Moretz, this B-movie truly stands out from the most recent flicks of the same type. The leads’ chemistry carries most of the engaging story, even though a word of praise must go to Maika Monroe for her display. The indisputable narrative problems can either be completely nonsensical or reasonable, at best, depending on what kind of moviegoer you are. There are enough justifications for interpreting the second half events and Huppert‘s character actions as both silly or realistic. I stand on the latter, and I enjoyed myself during the whole runtime. Go see it if you catch it near you. If you don’t, be sure to watch at home.
Rating: B **_Insubstantial and forgettable, but Huppert makes it moderately entertaining_**
> _The philosopher is right who says that nothing thicker than a knife's blade separates happiness from melancholy; and he goes on to opine that one is twin fellow to the other; and draws from this the conclusion that all extremes of feeling are allied with madness._
- Virginia Woolf; _Orlando_ (1928)
In Claude Chabrol's _Violette Nozière_ (1978), Isabelle Huppert plays a prostitute who contracts syphilis from a client, tells her parents she inherited the disease from them, kills her father, tries to kill her mother, and falsely claims that her father molested her. In Chabrol's _La Cérémonie_ (1995), she plays a woman who shoots an entire family to death as they watch TV. In Michael Haneke's _La Pianiste_ (2001), she plays a pianist who uses broken glass to injure the hand of a fellow professional. In Christophe Honoré's _Ma Mère_ (2004), she plays a woman who commits suicide whilst having sex with her son, timing it so that her death coincides with his orgasm (just don't ask). In Paul Verhoeven's _Elle_ (2016), she plays a rape victim who sets out for revenge on her rapist, all the while indulging in ever more extreme play-rape scenarios with her (married) neighbour. It's quite a CV of depravity (and that's only five of the 120+ films in which she has appeared).
And so we have _Greta_. Written by Ray Wright (_Pulse_; _Case 39_) and Neil Jordan, and directed by Jordan (_The Company of Wolves_; _The Crying Game_; _Interview with the Vampire_; _Michael Collins_), this is schlocky B-movie territory through-and-through, with a completely ridiculous plot and over-the-top final act, all infused with a ludicrous generic campiness. It's one of those films that's so utterly horrendous in almost every way, it's actually kind of enjoyable. Kind of. Very much in the tradition of stalker-thrillers such as Brian De Palma's _Body Double_ (1984), Adrian Lyne's _Fatal Attraction_ (1987), and Barbet Schroeder's _Single White Female_ (1992), although nowhere near as good as any of them, _Greta_ was introduced at the Venice Film Festival as "_a twisted little thriller_". Well, it's certainly twisted, and it's also rather little, but there isn't a huge amount of thrilling going on. Same problem if you want to call it a psychological thriller, as there's precious little psychology. In fact, there's precious little of anything going on, as Jordan seems to have precisely nothing to say; the film simply isn't inherently _about_ anything. Although it is good for a few laughs (and I'm pretty sure not all of them intentional).
Frances McCullen (Chloë Grace Moretz), a young Bostonian, is sharing an apartment in New York with her college friend Erica Penn (Maika Monroe). Having recently lost her mother to cancer, she is all-but-estranged from her workaholic father Chris (the great Canadian Shakespearean actor Colm Feore), with every conversation painfully taut. Returning home from her waitress job, Frances finds a handbag on the subway belonging to Greta Hideg (Huppert). Bringing the bag to Greta's house, the two share tea, as Greta explains her husband died some time ago, and her daughter is living in Paris, leaving her feeling lonely. They strike up a friendship, with each filling an emotional void in the other's life. Although Erica thinks the relationship is "weird", Frances ignores her, and she and Greta grow ever closer. However, as Greta prepares dinner one evening, Frances finds a collection of handbags identical to the one she found on the subway, each labelled with a name and phone number. Deeply concerned, Frances tries to cut ties with Greta, conceding that Erica was correct. Greta, however, has no intentions of allowing Frances to walk out of her life.
_Greta_ is Neil Jordan's eighteenth film, and the eleventh to feature Stephen Rea (here playing a rather useless private detective), and his output has always been patchy; for every classic like _Mona Lisa_ (1986) and _The Crying Game_, there's a _We're No Angels_ (1989) and a _Byzantium_ (2012). Something in which he has always been interested, and which infuses many of his films, is folklore, especially fairy tales. Obvious in films such as _The Company of Wolves_ (1984), _High Spirits_ (1988), _In Dreams_ (1999), and _Ondine_ (2009), it's also to be found just below the surface in everything from _Angel_ (1985) to _The Miracle_ (1991) to _Breakfast on Pluto_ (2005). In _Greta_, Jordan allows his familiarity with the tropes of classic fairy tales to imbue the film's _milieu_, especially in relation to Greta's home, which is so obviously inspired by "Hansel and Gretel" it may as well as have been made of gingerbread, whilst Frances has more than a hint of Little Red Riding Hood's innocence and _naïveté_ about her.
However, this is a Roger Corman-style B-movie before it is anything else. For example, something you see a lot in B-movie thrillers is that when danger is apparent, otherwise intelligent characters must act like complete and utter simpletons; so, upon a barrage of calls and texts from Greta, Frances neither blocks Greta's number nor changes her own; when Greta starts calling the landline, neither Frances nor Erica think to unplug it; although it's never explicitly stated that Greta has a key to the girls' apartment, the fact that she seems to pop in and out at will suggests she does, yet the girls don't change the locks; Frances's big plan to combat Greta is to root through her garbage to try to find something incriminating; when trapped in Greta's house, after trying the door and one window, Frances thinks the best course of action is to flee to the dark cellar. Whether the film intends for this level of stupidity to be humorous or not is beside the point; anyone who has ever seen a movie (any movie) will surely get a chuckle from such appalling writing
The question one must ask, then, is whether or not Jordan is actually in on the joke. It remains somewhat ambiguous, but I would say, for the most part, that he is not, and that he seems to take the material relatively seriously. What is certain, however, is that Huppert is very much aware of the ludicrousness around her. Although _Greta_ is nowhere near the most extreme character she's played, she is clearly having an absolute blast with the part - whether it's delivering her lines as if she's over-rehearsed them, literally dancing across the set as she commits homicide, spitting chewing-gum into Frances's hair, gleefully engaging in some DIY emergency medicine, standing completely motionless in a city street, or overturning a table as if her life depended on it, you rarely see a performance wherein the performer is so joyful; she practically winks at the camera a couple of times. She commits totally to every bonkers moment, which come thick and fast in the last act. Without her exuberant performance, the film would be virtually unwatchable; Moretz is fairly wooden; Monroe's Erica is a blank slate rather than a character; Feore is wasted in only two scenes; and Rea is his usual hang-dog self. Only Huppert pops. But man alive does she pop bigly!
Thematically, the film flirts with a few issues, but never really penetrates any of them. One could certainly read it as a satire of NYPD inefficiency, the ineffectiveness of the justice system, and the misnomer that in a post #MeToo society, it's easier for women to report instances of stalking and harassment and be believed; when Frances makes a formal complaint about Greta, a bored policeman tells her "_it's not harassment if it's in a public place_". Later on, when Frances tries to file a restraining order, she is told it could be months before her case is heard. When Greta is taken into custody at one point, she is released almost immediately, despite clearly being unstable.
From an aesthetic point of view, the film signals its campiness right from the off, opening with Julie London's 1963 cover of "Where Are You?" As you would expect from Jordan, the film looks great. In relation to the production design by Anna Rackard (_Boy Eats Girl_; _Love & Friendship_), the dark brown classical feel of the interior of Greta's house, with delicate sunlight filtering through the curtains, and looking, for all the world, like a 19th century rural French cottage, contrasts sharply with the bright, grey, modernist look of the girls' sleek apartment. Jordan's regular set decorator John Neligan must also be mentioned, as he fills Greta's house with innumerable trinkets whilst leaving the girls' environment relatively unadorned. Also worth mentioning is how Jordan and director of photography Seamus McGarvey (_The Hours_; _We Need to Talk About Kevin_; _Nocturnal Animals_) shoot scenes of Greta watching Frances menacingly from outside the restaurant where she works - placing her dead centre in the frame as she remains completely motionless, in the midst of a flurry of movement and passers-by all around her. It's a very creepy image.
Another really well mounted part of the film is a scene where Greta is following Erica. Although neither Erica nor the audience ever actually see Greta, we know she's there, because she keeps sending Frances picture messages of her pursuit, as Frances is on the phone to Erica telling her to run. The editing by Nick Emerson (_Starred Up_; _Lady Macbeth_; _Daphne_) is especially impressive here, cutting rhythmically between Erica, Frances, and inserts of the picture messages, as the tension mounts. Again, it's a very unsettling scene, and a unique way to stage a chase. Finally, there's the sound design by Stefan Henrix (_The Devil's Double_; _Britannia_), which is noticeable in what it doesn't do; whenever we are outside, there are the typical sounds of a city that you would expect, however, when we move into Greta's house, the sound design is dialled back almost to zero (much quieter than the girls' apartment), creating the impression of the house as somehow separate from the frantic pace of the city right outside the door.
On the other hand, the aesthetic very much lets the film down in terms of location. Although set in New York, it was shot primarily in Dublin, with some pick-ups in Toronto, and it shows. Granted, I live in Dublin and was able to pick out most of the locations in a way someone not from here wouldn't. But irrespective of that, the filmmakers seem to have made little effort to disguise the location; from the sequence of the traffic lights to the side of the road on which the cars drive to the street signs. It's very distracting, and really wouldn't have required that much effort to fix. This is especially irritating insofar as the location's significance is built into the script (it's mentioned several times that if Frances were from New York she would never have picked up the bag). So the fact that so little effort has gone into actually making the film look like it was shot in New York is disappointing.
Unfortunately, there are a myriad of other problems. For starters, there's the script, which never feels like anything other than pure genre fare. Yes, it's to be lauded for using women in the role of both stalker and stalked, when stalker-thrillers have traditionally been about male anxiety. However, it doesn't take this trope anywhere, as if simply having two women at the centre is enough, and doesn't need further comment. When _clichéd_ issues like vulnerability, loneliness, and obsession are presented in a _clichéd_ manner, they don't cease to be _clichéd_ just because they've been given an undercoat of pseudo-feminism. The opportunity to engage with gender politics is right there, but is disappointingly avoided.
Another problem with the script is that none of the characters are given much in the way of interiority or psychological verisimilitude. Frances and Greta have some rudimentary backstory, but it isn't enough to compensate for their lack of psychology. There's little emotional complexity anywhere in the film, no real sense of any of the characters having an unconscious. And whilst the ludicrousness of Huppert's performance distracts from this and transcends the limitations of the writing, Moretz remains unable to break free. In this sense, she comes across like a cog in the screenwriters' machinery, only behaving in such and such a way because the plot dictates it, with scene after perfunctory scene doing only enough to get us to the next scene and nothing else. Neither Moretz nor Monroe are able to escape the generic moulds of their character-types; the bright-eyed and innocent newbie whose kindness will be her downfall, and the tough friend who seems churlish and cynical but who ultimately proves to have been right all along.
_Greta_ is a rote stalker-thriller that looks great, but offers nothing we haven't seen before; it's essentially a potboiler in a nice suit. No different from any of the late 80s/early 90s obsession thrillers, the plot is plodding and uninspired and the characters are underwritten. When all is said and done, it's hard to really figure out what Jordan was aiming for with this. You can't call it a psychological thriller about obsession and loneliness, because it does nothing with these themes, but you can't call it a self-aware and campy B-movie, because Jordan doesn't seem to be fully cognisant that it's campy schlock. Huppert's batshit insane performance elevates the material significantly, but even she can't paper over all the cracks. It's been 23 years since Jordan has made anything of real significance, and on the evidence of his last few films, it's going to be a while before he does so again. Decent enough thriller but not especially memorable, though both Isabelle Huppert and Chloe Grace Moretz turned in fine performances. It's probably fine as a rental.
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Very well scripted and rolled. Animal Kingdom unleashes an unfaltering roar across Australia. The animal kingdom, a hierarchical group of biological creatures that zoologically determine species that are predacious by nature or hunted down by those stronger than them. It is the laws of nature, Darwinism, that the mighty feed on the weak. Natural selection. We, specifically as human apex predators, do what we must in order to increase our survivability odds. For the Cody family, a familial crime syndicate based in Melbourne, that results in suppressing even the most friendly of noises. Their successful drug-distribution has enabled them to purchase a myriad of luxuries in life, including a quaint abode where seventeen year-old Josh stays after his mother overdoses on heroin. With no alternative shelter, he nestles into the heart of the Cody family tree, commanded by the sweet innocent matriarch who’d do anything and everything to see her boys home and safe.
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The Cody family members are developed substantially, with their affection for each other explicitly displayed for added finesse. The line between psychopathy and scrupulous behaviour is depicted through the character of “Pope”. His outrageous criminal activity tests the loyalty of his brothers whilst embedding a commanding presence within the family. We may view the shenanigans through Josh’s innocent perspective, yet somehow Michôd transforms these detestable characters into, well, protagonists. His attentive detail in illustrating the affectionate bonds within the family, instantly adds a light touch of self-justification for their crimes. Impeccably clever, to turn a group of murderous individuals into something more affable.
None of this though would’ve been possible without the sensational performances all-round, with three highlights in particular. Mendelsohn showed the world how brutal his antagonistic capabilities can be, with an arresting performance that cemented his talents almost immediately. Pearce, portraying the “good cop” by convincing Josh not to become a criminal, balances the ethical and moral dilemmas that the main character encounters with a soothingly calm performance. Then Weaver, capitalising on her sweet demeanour, venomously encourages the family through her captivating matriarchal performance. The Brando of Melbourne, perhaps?
Frecheville lacked emotional conviction, mostly offering a monotonously one-dimensional approach, that forced his uncles to be more enticing as individuals. Occasionally Doolan’s sublime editing consequently resulted in the script feeling somewhat scattershot, particularly in the second act, where the tension dissipated after the shopping centre scene. The introduction of the family’s barrister before the court hearing was also spontaneous, resulting in Phillips’ performance being less than impressive.
Still, Animal Kingdom is quite simply one of Australia’s greatest exports. Tight, taut and packed full of explosive performances that provide an animalistic bite to this crime story. A rejuvenated modern-take on the classic gangster formula.
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