Nocturnal Animals (B- or 2.5/4 stars)
I really admired fashion designer-turned-writer/director Tom Ford's 2009 offering, A Single Man. 7 yrs. later, he brings us 'Nocturnal Animals', a bizarre marital psycho-thriller, where a divorced couple discovers dark truths about their past relationship. The opening credit sequence is one of the strangest, off-putting I've seen: grotesquely obese, fully nude older women writhing in red glitter as part of an art installation at an elite L.A. gallery opening, curated by Susan Morrow (Amy Adams). After bearing witness to this unforgettable start, we're thrust into the midst of an upper-class marriage on the rocks. However, just as Susan's relationship with her current hubby (Armie Hammer), is crumbling {financial worries, a clandestine affair}, she is pulled back into the orbit of her estranged ex-husband, Edward (Jake Gyllenhaal); who has sent her a manuscript of his book, titled "Nocturnal Animals", having dedicated to her since she's a chronic insomniac.
As Susan puts on her glasses, cuddles up in her modernist mansion & reads, the film's narrative morphs into a book-within-the movie scenario as we're drawn into the novel's plot. The 'fictitious' noir thriller revolves around Tony Hastings (Gyllenhaal, again), who is on a road trip through West Texas with his wife, Laura (Amy Adams clone, Isla Fisher) & their teen daughter, India. After getting involved in a tension-filled road rage game of cat-&-mouse, Tony's Mercedes is forced off the road in the dead of night. The family's tormentors/ambushers - 3 yokels led by Ray (Aaron Taylor-Johnson) - start out taunting before moving to more sinister actions. Working with an ailing local cop, Bobby Andes (Michael Shannon), Tony re-constructs the violence & grim brutality that took place that night.
During the course of this film's 110 minutes, 'Nocturnal Animals' slides back & forth from present day to flashbacks and also returning to the 'fictional' novel story to explain Susan & Edward's checkered history. The film delves darkly into the past, showing us intermittent scenes from their marriage - the sweetly optimistic early days to the ultimate betrayal Susan commits at the end of it. It seems that writing the book "Nocturnal Animals" was Edward's therapy on how to cope with Susan's betrayal from yrs. ago. However, for Susan, because the contents of the novel are so twisted & ends on such a nihilistic note, she's alarmed by the intent of the vengeful plot incidentals; hoping to reconnect with Edward to squash ill-feelings ... if she can.
Nocturnal Animals' book-within-the movie segment is harrowing, unnerving & gratuitously cruel to a fault; maybe horror flick aficionados will love it, I did not. The 3 redneck antagonists exude such unpredictable menace and, the torturous manner in which they prey on their victims made me sick to my stomach. I dug more so the flashbacks to Susan & Edward's friendship/marriage/divorce. These jumbled memories tie-in to Susan’s reading the novel and makes her contemplate the steps a victim (Edward/Tony) could take when justice fails (marriage/revenge) -- scary stuff to contemplate if you're Susan. That said ... the film's ending is such a NOTHING, meant to shock the audience by pulling the rug from under them with its sudden bleakness -- that bugged me. That 'nothingness' is likely the point of the film. But while this kind of pseudo symbolic ending may register with more philosophical viewers, I did not care for it. It felt pretentious & shallow.
I can't fault the cast, which is excellent, despite Ford's lack of sympathy for his characters. The camera hangs on Amy Adams' subtly expressive face; great decision. She brings a sad introspection to Susan, a woman haunted by regrets and finds her present situation both intolerable & scary. Though the character of Edward isn't fully fleshed out, Tony is a tower of anger & guilt -- and Jake Gyllenhaal executes both versions of Edward well. Aaron Taylor-Johnson is terrifying as Ray. Michael Shannon's darkly humorous portrayal of the ailing cop who supports Tony's red-blooded desire for justice is great. Michael Sheen & Andrea Riseborough bring some needed levity as a socialite couple. And Laura Linney has an icy scene-stealing cameo as Susan's intensely disapproving Republican mother.
Even when adapting material (here, it's from a novel titled 'Tony and Susan'), Tom Ford has shown us for the 2nd time what a director's eye he has. There are some gorgeous images here that he supervises (with Seamus McGarvey's typically stunning camerawork), though, I don't know if I'd include that preposterous opening credits sequence {haha}. The production design is sleek & sexy, as are the daring costumes & some alluring make-up/hair work; particularly on Adams. Along with the performances, Ford's aesthetic enhances the film's story. I just wish all of these positives served a better narrative! Thematic elements of 'NA' (deceit, misogyny, marital heartbreak) are fascinating, but executed in a too remote, aloof way. The book-within-the movie segment is morbid & not something I'd want to revisit. And the aforementioned ending did not satisfy me. The film leaves an impression that's hard to shake; I just wish it were for better reasons.
As Susan puts on her glasses, cuddles up in her modernist mansion & reads, the film's narrative morphs into a book-within-the movie scenario as we're drawn into the novel's plot. The 'fictitious' noir thriller revolves around Tony Hastings (Gyllenhaal, again), who is on a road trip through West Texas with his wife, Laura (Amy Adams clone, Isla Fisher) & their teen daughter, India. After getting involved in a tension-filled road rage game of cat-&-mouse, Tony's Mercedes is forced off the road in the dead of night. The family's tormentors/ambushers - 3 yokels led by Ray (Aaron Taylor-Johnson) - start out taunting before moving to more sinister actions. Working with an ailing local cop, Bobby Andes (Michael Shannon), Tony re-constructs the violence & grim brutality that took place that night.
During the course of this film's 110 minutes, 'Nocturnal Animals' slides back & forth from present day to flashbacks and also returning to the 'fictional' novel story to explain Susan & Edward's checkered history. The film delves darkly into the past, showing us intermittent scenes from their marriage - the sweetly optimistic early days to the ultimate betrayal Susan commits at the end of it. It seems that writing the book "Nocturnal Animals" was Edward's therapy on how to cope with Susan's betrayal from yrs. ago. However, for Susan, because the contents of the novel are so twisted & ends on such a nihilistic note, she's alarmed by the intent of the vengeful plot incidentals; hoping to reconnect with Edward to squash ill-feelings ... if she can.
Nocturnal Animals' book-within-the movie segment is harrowing, unnerving & gratuitously cruel to a fault; maybe horror flick aficionados will love it, I did not. The 3 redneck antagonists exude such unpredictable menace and, the torturous manner in which they prey on their victims made me sick to my stomach. I dug more so the flashbacks to Susan & Edward's friendship/marriage/divorce. These jumbled memories tie-in to Susan’s reading the novel and makes her contemplate the steps a victim (Edward/Tony) could take when justice fails (marriage/revenge) -- scary stuff to contemplate if you're Susan. That said ... the film's ending is such a NOTHING, meant to shock the audience by pulling the rug from under them with its sudden bleakness -- that bugged me. That 'nothingness' is likely the point of the film. But while this kind of pseudo symbolic ending may register with more philosophical viewers, I did not care for it. It felt pretentious & shallow.
I can't fault the cast, which is excellent, despite Ford's lack of sympathy for his characters. The camera hangs on Amy Adams' subtly expressive face; great decision. She brings a sad introspection to Susan, a woman haunted by regrets and finds her present situation both intolerable & scary. Though the character of Edward isn't fully fleshed out, Tony is a tower of anger & guilt -- and Jake Gyllenhaal executes both versions of Edward well. Aaron Taylor-Johnson is terrifying as Ray. Michael Shannon's darkly humorous portrayal of the ailing cop who supports Tony's red-blooded desire for justice is great. Michael Sheen & Andrea Riseborough bring some needed levity as a socialite couple. And Laura Linney has an icy scene-stealing cameo as Susan's intensely disapproving Republican mother.
Even when adapting material (here, it's from a novel titled 'Tony and Susan'), Tom Ford has shown us for the 2nd time what a director's eye he has. There are some gorgeous images here that he supervises (with Seamus McGarvey's typically stunning camerawork), though, I don't know if I'd include that preposterous opening credits sequence {haha}. The production design is sleek & sexy, as are the daring costumes & some alluring make-up/hair work; particularly on Adams. Along with the performances, Ford's aesthetic enhances the film's story. I just wish all of these positives served a better narrative! Thematic elements of 'NA' (deceit, misogyny, marital heartbreak) are fascinating, but executed in a too remote, aloof way. The book-within-the movie segment is morbid & not something I'd want to revisit. And the aforementioned ending did not satisfy me. The film leaves an impression that's hard to shake; I just wish it were for better reasons.