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The Northman (2022)

The film that I have personally been most excited about this year is Robert Eggers’ The Northman. Based on the legend of Amleth, the story follows Amleth (Alexander Skarsgård) as he vows to avenge his father, King Aurvandill (Ethan Hawke) who died at the hands of his bastard brother, Fjölnir (Claes Bang), and save his mother, Queen Gudrún (Nicole Kidman) who was kidnapped by the latter. The plot itself is fairly simple as we follow Amleth’s quest across the seas to Iceland, but as ever with Robert Eggers’ films, The Northman ventures into great characterisation as we get to see Amleth’s emotional development throughout. The film has been marketed as an action epic adventure which it is, but it is also a drama steeped in trauma as Amleth tries to complete the impossible and seek justice from those who have wronged him. The film features one of the best casts of the year as it also includes supporting turns from Anya Taylor-Joy and Willem Dafoe, as well as a brilliant turn from Björk, who makes a return to acting after more than a decade away from the silver screen.

The film is directed by Robert Eggers who cowrote the script with Sjón, a frequent collaborator with Björk. The first thing that is noticeable about The Northman is that it is Eggers’ largest project in scope and budget as his previous films, The VVitch and The Lighthouse utilise minimal locations and characters whereas The Northman features an array of different characters as Amleth makes his way cross-country to avenge his father. The direction and writing seems more suited for mainstream audiences than Eggers previous efforts (you can read my thoughts on those here), but this isn’t necessarily a bad thing. What Eggers manages to achieve with The Northman is his ability to make a film of a larger scope that is suitable for a general audience.

Alexander Skarsgård has garnered a reputation thanks to his action-based roles, but his dramatic turns have often gone wrongly unnoticed such as his amazingly uncomfortable performance in The Diary of a Teenage Girl (read my review here). The actor playing Amleth not only has to demonstrate a huge level of physical fitness, but they also have to be capable of conveying the character’s emotional journey and the burden that he is faced with. This is what makes Skarsgård perfect for the role over the physical aspect as you can see with every strike of his sword that there is the ulterior motive and bigger picture in Amleth’s face. What makes Skarsgård’s performance so brilliant is that the character of Amleth is not invincible or incapable of feeling pain as he is beaten down plenty of times by his foes, but this seems to drive him further to outfight them constantly and this emotional battle that Amleth has eventual manifests into uncontrollable rage.

The film is specifically a singular character journey as we follow Amleth’s quest, but that doesn’t mean we don’t encounter plenty of other brilliant characters along the way. The main supporting character comes in the form of Olga, a sorceress who fights against those who threaten her and proves herself to be a perfect balance for Amleth as she brings out his human side. Playing Olga is the incredible Anya Taylor-Joy, who has showcased a fantastic range in her relatively short career. Giving her the chance to reunite with Eggers following her breakout in his debut feature, The VVitch, Taylor-Joy’s performance is strong and determined, as she longs for a life away from slavery as she bids to be free. Another brilliant supporting role comes from Nicole Kidman, who plays Amleth’s mother, Gudrún, as she displays an ethereal quality that makes her seem untouchable even though she is within Amleth’s gaze for a lot of the film, while proving that there is a darker side to her character than what may seem.

What I was most looking forward to when it came to watching this film was the return of Björk to the big screen. Despite very limited screen time, Björk’s performance is visually striking, and her presence has a lasting effect on the entire film thanks to her eerie turn as the Seeress. Not only is the performance integral to the overall plot as she tells Amleth of his fate as he readies himself to journey to Fjölnir, it brings a supernatural and otherworldly quality to the film that provides escapism from the chaos that surrounds Amleth’s reality. Hopefully, this small role encourages Björk to take on even bigger roles and sees her return to the big screen sooner rather than later.

From the outset, The Northman is a visual feast for the eyes thanks to cinematographer, Jarin Blaschke, who perfectly captures the medieval setting of the film and does a perfect job balancing out the light and shadow of the natural landscape. What Blaschke manages to achieve is conveying Amleth’s point of view to the audience by merging the real and the supernatural, so it becomes one perspective throughout. Because we are seeing the world through Amleth’s eyes, there are certain events that can be misinterpreted or wrongly perceived due to Amleth’s error and Blashcke puts this across perfectly.

The music in The Northman has been composed by Robin Carolan and Sebastian Gainsborough who provide a wonderful soundtrack that incorporates sounds of the time and instruments that would have been used, while ensuring that it adds to the tension and action that is happening onscreen. Just as we see Amleth’s emotional journey visually onscreen, the music provides a perfect backdrop to this so the film becomes a sensory experience and the audience can really emote with Amleth and his struggles.

The Northman may appear to be an action film when it comes to its marketing, but the film delves into deep characterisation and seeks to explore Amleth’s motivations and the emotional journey he takes from the moment his father dies to seeking out his revenge. As expected with an Eggers film, the film is brutal and unflinching in its visual while boasting a script that perfectly captures the essence of the time period and culture to really immerse the audience. The Northman is Eggers’ biggest film to date in terms of budget and scope, clearly demonstrating his ability to grow as a filmmaker as well as demonstrating how his vision can fit in with mainstream audiences.

What did you think of The Northman? Let me know what you think in the comments below!

The Northman is available to see in cinemas now!

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Nightmare Alley (2021)

Bradley Cooper in the film NIGHTMARE ALLEY. Photo by Kerry Hayes. © 2021 20th Century Studios All Rights Reserved

Hollywood has been going through a period of nostalgia in recent years. We have seen an abundance of franchises, sequels, prequels, reboots and remakes dominating the cinematic landscape, and it’s easy to understand why. These films provide a sense of comfort and escapism for audiences as they offer a sense of familiarity. One such example is Guillermo del Toro’s latest release, Nightmare Alley, which is based on the 1946 novel of the same name by William Lindsay Gresham and the second film adaptation following the iconic 1946 film noir of the same name that stars Tyrone Power and Joan Blondell. The film follows protagonist Stanton “Stan” Carlisle (Bradley Cooper), a man who becomes a carny after killing his father and burning his house down. During his tenure at the carnival, he becomes interested in Mentalism, eventually falling in love with carny Molly (Rooney Mara) and the two leave the carnival to embark on their own touring act with dire consequences. With a starry cast led by Cooper and Rooney, while also featuring the likes of Cate Blanchett, Toni Collette, Richard Jenkins and Willem Dafoe among many more, Nightmare Alley is a staggering 150-minute mammoth of a film that chronicles the rise and fall of its protagonist is flamboyant fashion that is every bit a carnival attraction in itself.

The film is directed by Guillermo del Toro who co-wrote the screenplay with Kim Morgan. As expected from a del Toro film, the direction is stellar and captivating with meticulous detail and precision in every frame. Where del Toro’s Oscar-winning The Shape of Water has its fixations on the aquatic and incorporates this element into the aesthetic and flowing nature of the film, Nightmare Alley literally opens in flames as Stan sets his father’s house on fire. This fiery nature runs through the entire film as we see Stan revisit this moment time and time again, especially in moments of reflection. Where the film experiences somewhat of a downfall is in the writing as the pacing doesn’t feel as consistent throughout. The audience is thrown into the events as Stan sets fire to the house and immediately boards a bus that takes him to the carnival; however, the film soon slows down in pacing, especially during the final act and there are far too many endings.

Bradley Cooper takes on the lead role of Stan that was originally played by film noir icon, Tyrone Power in the original 1947 film. Cooper has established himself as one of Hollywood’s best leading men having garnered nine Oscar nominations with four of these being in acting. He is the perfect choice for Stan and has that brilliant Southern drawl and charisma needed for the role as the character works his way up the social ladder. What makes Cooper’s performance so captivating is how unpredictable he is and the way that the audience learns more about him throughout the film. It is within the second half of the film that we discover the whole truth about what happened between him and his dad. While Tyrone Power will always be associated with the role of Stan, Cooper doesn’t try to copy or imitate his performance but provides a darker angle that lends to his unpredictability.

Playing Molly is Rooney Mara, who proves that there is a lot to this role than meets the eye. To assume that Molly is simply Stan’s love interest is to dismiss this incredible performance as Molly has plenty of personal freedom and doesn’t feel pressure to take her time in deciding what she wants to do with her life. Mara is the perfect onscreen partner for Cooper because she is always capable of delivering performances that are more subtle but still pack their punch. While Cooper’s performance is big and loud, Mara provides a nuanced and quieter performance that still holds plenty of power and shouldn’t be overlooked. What makes Rooney Mara one of the best actresses working today is her adaptability and ability to steal a scene while also playing well against others when needed.

The second half of the film is dominated by Cate Blanchett who plays the mysterious psychologist Dr. Lilith Ritter. Her first scene comes later in the film as she attends one of Stan and Molly’s shows, attempting to uncover their tricks. Blanchett’s Lilith seems charming and disarming as she manages to seduce Stan over time as they come together to scam wealthy men by pretending that Stan can communicate with the dead when he is using information that Lilith has been feeding him as they were patients of her. Blanchett’s final scene is genuinely terrifying and shows a darker range to her acting that we haven’t really seen before.

Another brilliant performance worth mentioning comes from the always brilliant, Richard Jenkins, who plays the unpredictable and eccentric Ezra Grindle. Grindle is an extremely intimidating man and incredibly wealthy to the point where the money blinds Stan from the blatant threats that are present. Jenkins provides unsettling energy to Grindle and even though he isn’t in a lot of scenes in the film, he steals the scenes that he is in. Despite the limited amount of screen time, we learn so much about Grindle’s character and want to learn more thanks to Jenkins’ impeccable performance.

Nightmare Alley may not have the same level of magic that del Toro brought with The Shape of Water, but it cannot be denied that he is a true visionary and is always capable of creating beautiful aesthetics and drawing out brilliant performances from the star-studded cast. Where Nightmare Alley falls short is its writing as it feels like two completely different films that have been combined yet don’t quite tonally mesh, while the film’s length runs for too long. If there was more tonal connection and consistency throughout and a shorter running time, this would be viewed as a front-runner in the awards season.

What did you think of Nightmare Alley? Let me know in the comments below!

Nightmare Alley is out in cinemas now!

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Spider-Man: No Way Home (2021)

Please note that there are spoilers in this review!

One of the biggest releases of the year was undoubtedly Spider-Man: No Way Home. Marking the last installment of the latest Spider-Man trilogy, we get to see Tom Holland make another great outing as everybody’s favourite neighbourhood superhero, Spider-Man. The film follows the aftermath of Spider-Man’s identity becoming known to the world following the events of Spider-Man: Far From Home and Peter Parker’s attempt to rectify the situation after his life and the lives of those he loves most including girlfriend MJ (Zendaya) and Ned (Jacob Batalon) as the trio are rejected from every college they applied for due to Peter’s notoriety. Inspired by previous events within the MCU, Parker seeks help from the reclusive Doctor Strange (Benedict Cumberbatch) to fix the situation but the spell goes awry and the multiverse is opened, bringing in previous villains from other Spider-Man films including Green Goblin (Willem Dafoe), Doctor Octopus (Alfred Molina), Sandman (Thomas Haden Church), Electro (Jamie Foxx) and Lizard (Rhys Ifans). The villains’ inclusion was known from the outset, but there was been a lot of speculation in the lead-up to the film’s release as there were rumours that Tobey Maguire and Andrew Garfield were due to join forces with Holland in order to fight the group which was in fact true and the result is a fantastic battle.

Spider-Man: No Way Home sees Jon Watts returning to direct following his previous efforts on Spider-Man: Homecoming and Spider-Man: Far From Home and is written by Chris McKenna and Erik Sommers. Where some franchises within the Marvel Universe can become inconsistent, especially when the teams behind the camera are changed on a regular basis but it feels that Sony and Marvel have done a great job ensuring that this Spider-Man trilogy is not only consistent, but shows growth and character development in a way that is slow-burning and believable meaning that watching them on release ensures that nothing feels too different from the preceding film while watching the three films together will clearly show Peter’s maturity develop and allowing the audience to see clearly differences between Peter at the start of Spider-Man: Homecoming and the end of Spider-Man: No Way Home.

Tom Holland is just as likeable as ever and in a film littered with even more stars from the Spider-Man universe, he is able to maintain his standing as the leading man with ease and hold his own against Macguire and Garfield’s Parker. What is great about Holland’s performance is that we see a more mature Peter compared to the previous installments while also capturing that glimpse of naivety that teenagers have during times of trouble. It’s a balanced performance that shows Holland capable of presenting us with a protagonist who finds that what is right and what is moral can be conflicting and the results of which can be devastating. His chemistry with Zendaya is also undeniable and the relationship between Peter and MJ feels as though it has grown so much since Spider-Man: Homecoming adding yet another layer to his performance as Peter.

As one of a couple female characters in the film, Zendaya is fantastic as MJ. MJ is not simply identifiable as Peter’s girlfriend but is defined by her intelligence and personality which shines through and the writing and Zendaya’s fearless performance ensure that MJ is an active part of the plan to defeat the villains. Where in the other Spider-Man films (as in Maguire and Garfield’s run), Mary Jane and Gwen were often reduced to the damsel in distress and used as a ploy for villains to get Spider-Man to fight them, MJ is never put in that box and consistently comes up with solutions for Peter to follow, despite not having the powers that he does.

The main event of the film was undoubtedly the return of Maguire and Garfield who bring their interpretations of Spider-Man to the film and the results are fantastic. Rather than just turning up at the final fight, Garfield and Maguire turn up around halfway through which gives plenty of time for the three Peters to become acquainted with each other and build a rapport that is enjoyable to watch and makes for one of the year’s best teams on film. It’s clear that each actor is having a blast with the role and that radiates from their performances. The writing picks up on the differences between each Spider-Man’s universe and includes jokes and comments such as Maguire’s Peter having no idea who the Avengers are while Garfield’s Spider-Man reflects on the loss of Gwen Stacy (which happened in The Amazing Spider-Man 2).

When it comes to the villain performances, the highlights are Alfred Molina as Doctor Octopus and Jamie Foxx as Electro. Doctor Octopus is initially seen as an unofficial leader of the group and Molina can always be counted on to provide a brilliant performance. Molina’s performance as Doctor Octopus is gripping from the outset as he has to deal with the confusion of being in an alternative universe while also encountering figures from his past who he believed had died. Spider-Man: No Way Home does a great job at blurring the lines between superhero and villain and this allows Molina to delve even deeper with Doctor Octopus’ character than ever before. Jamie Foxx is another highlight but in a different way. The Amazing Spider-Man 2 did not give Electro’s character the development and nuance needed for Foxx to really shine while the writing in this film does and Electro proves to be one of the best villain characters in the entire film thanks to his sharp wit and strong power that makes him incredibly hard to defeat. It’s clear that Foxx is even more comfortable and confident in the role in this film and the writing also helps to make Electro’s interactions with others feel more natural and believable when compared to his appearance in The Amazing Spider-Man 2.

On the surface, it can seem that there is too much going on in Spider-Man: No Way Home but the pacing of the film is perfectly done while still giving plenty of character development for the returning faces which makes it a fantastic watch. Being able to do justice for an interesting character like Electro who wan’t given much in The Amazing Spider-Man 2 was nice to see as well as allowing Holland, Maguire and Garfield to have plenty of fun as a team which makes the fight sequences incredibly fun to watch.

What did you think of Spider-Man: No Way Home? Let me know what you think in the comments below!

Spider-Man: No Way Home is available to view in cinemas now!

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London Film Festival 2020: Siberia

The third film on my viewing list was auteur Abel Ferrara’s film Siberia based on a script co-written by Ferrara and Christ Zois. Marking Ferrara’s sixth collaboration with Willem Dafoe, the film follows bar owner, Clint (Dafoe) who lives in the wilderness of Siberia. Starting with a simple voice over over the opening credits with Clint recalling a memory with his father when he was younger, Siberia soons delves inwards with hallucinations, chance meetings and confrontation with his memories. He encounters his father, brother and ex-wife in a bid to find and understand himself. Ferrara’s direction is distinct and rich in his vision. His use of lighting and contrast is brilliant, particularly the scene in the cave where Clint encounters his brother. It’s a film that leaves a lot to interpretation and it seems that Ferrara is not making any judgement on Clint or his choices.

The best way to describe the script is on that spirals inwards. The opening act on the film focuses largely on the Siberian landscape and Clint’s existence in this vast space before entering into his own mind as he tries to puzzle out his life. The isolated wintery wonderland is soon replaced with various settings including deserts and woodlands, taking us on a geographical journey as well as an emotional and mental one. The script is motivated by the journey rather than the dialogue and in the first act, Clint doesn’t really speak and the writing is about how he occupies the space. As his customers in the bar speak to him in various languages, Clint briefly responds and nods as long as though he understands. Whether or not he does is up to viewer interpretation but he is a good reader of people. It then envelopes into him not being a good reader of himself.

Willem Dafoe can always be relied on to bring a great performance and Siberia is no exception. As Clint is faced with various faces from his past and present, we begin to paint a picture on why Clint has settled into his lifestyle. Clint isn’t a character that necessarily has to be liked nor is he particularly special or interesting. His hallucinations are a result of his choice to live alone and refusal to face his past. The memories are what shape Clint’s character and give a more rounded portrait. The scene in which is talk to his ex-wife, he refuses to take full responsibility for the failure of their marriage. His hardness seems unbreakable and is also elevated by the fact that he doesn’t interact with people as much anymore. Dafoe’s performance is quiet and subdued but powerful all the same. He is the perfect fit for this character.

The quick shift in locations give this film a dreamlike quality with its fluidity and exaggerates the visceral nature of the film. The film explores a whole spectrum of genre and music alike. In its genre, the film brings out drama, horror and satire whilst indulging in explicit sex scenes and gun violence. The music choices also shift from the beautiful score composed by Joe Delia to song choices that range from folk songs to heavy metal. Despite its inward approach to exploring a singular character, Ferrara contrasts this with widely vast technical and creative choices. It allows the different sides of Clint to emerge, peeling off the layers one by one.

Overall, Siberia is a film that demands complete audience attention otherwise it won’t make much sense. It is a film rich in visuals and settings and makes for an intriguing character insight. I’m not sure if it is a film for everyone as the film doesn’t follow any conventional structure or explain the shifts in scenes which can be off-putting but I think it is definitely a film worth watching, particularly for the direction and Dafoe’s performance. It’s a thought-provoking piece that explores a lot of ideas despite its short running time of 92 minutes and I am looking forward to seeing what Ferrara and Dafoe’s seventh collaboration will be already.

Siberia is showing at the London Film Festival on the 10th October. You can book your tickets on the BFI website.

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Robert Eggers: Double Feature

In my series where I look at the emerging directors this century, it was only matter of time before I discuss the work of horror director Robert Eggers. Usually associated with his A24 cohort Ari Aster, Eggers’ two films are psychological studies of its characters with a darker colour palette than Aster’s work. His 2015 debut The VVitch was an instant success and a major talking point among the film community on release. There hadn’t been a film quite like it and it’s unapologetic take on the breakdown of a family. His 2019 film The Lighthouse couldn’t be more different. Whereas The VVitch was full of female empowerment and the emergence of a strong young woman finding her place in the world, The Lighthouse is heavily masculine and becomes a double character study rather than the spotlight being on a single character. The overall style of Eggers’ films is a perfect mix of gritty realism with a hint of fantasy and magic. Despite the unrealistic elements, the films are definitely grounded in their realism and the audience reaction is unaffected.

Both of his films were distributed by A24 and are currently discussed alongside Ari Aster’s films Hereditary and Midsommar as they are A24 and horror as well but Aster and Eggers have completely different angles. If anything, each film is a great example of how horror has becoming the best genre to look at current topical issues. I have written on Aster which can be read here and recommend watching his films but here are my mini reviews for Robert Eggers’ films The VVitch and The Lighthouse.

The VVitch (2015)

Eggers’ debut was talked about a lot on release because of its unrelenting dismantling of the family home. Following Thomasin (Anya Taylor-Joy), a young girl on the verge of womanhood struggling with her place in the family home after they are banished to fend for themselves after rejecting a Puritan colony. The family are then convinced there is a witch causing mayhem and won’t stop until the entire unit is killed. Starting with the baffling disappearance of her baby brother, Samuel after playing peekaboo with him, Eggers isn’t afraid of tackling taboos that even classical horrors don’t dare venture. Critics were more favourable towards the film whereas audiences weren’t as convinced although it was still a success at the box office. I think that because it was marketed as a straightforward horror, audiences weren’t expecting the many layers that this film has. It is more about Thomasin’s characterisation than the gruesome death scenes or jump scares. Taylor-Joy is nothing short than spectacular as Thomasin and brings that juxtaposition between childlike innocence and the more adult curiousity. She feeds into the fear to her twin brother and sister innocently at the beginning but then the more sinister intentions underlying the film begin to creep out. It’s definitely a horror film for the 21st century and helped to pave the way for more horrors that have intricate character studies. The VVitch could be viewed as a film exploring female empowerment and rejecting the traditional patriarchal society.

The Lighthouse (2019)

One of the most anticipated films of 2019, The Lighthouse stars Robert Pattinson and Willem Dafoe as warring lighthouse keepers, Winslow and Wake, respectively, who are stranded on an island during the storm. It’s not a horror in the traditional sense but the rising tension and characters’ waning sanity are the perfect combination to making one of the best horrors in recent years. Pattinson and Dafoe are pretty much the only characters for the majority of the film with Valeriia Karaman making an appearance as the Mermaid who seduces Winslow. The Lighthouse is a film unlike any other nevermind a horror film unlike any other. FIlmed in black and white 1.19:1 aspect ratio, the film is reminiscent of a claustrophobic vintage horror, reflective of the era it is trying to portray. Loosely based on the short story “The Light-House” by Edgar Allen-Poe, Eggers and his brother Max Eggers worked the script to a late 19th century setting and wanted to keep the focus on the deterioation of its male protagonists. I have written a more in-depth review of The Lighthouse which can be read here. Every aspect of this film is perfect from the casting to the writing to the set design. It was nominated for one Academy Award for Best Cinematography which was very well-deserved but I really feel that it should have been nominated for more, especially Willem Dafoe for Best Supporting Actor. Dafoe consistently brings his A game and the fact that The Lighthouse is among his best says a lot.

Eggers is currently working on his upcoming project The Northman which will star mega stars like Nicole Kidman and Alexander Skarsgard as well as reuniting the director with Anya Taylor-Joy and Willem Dafoe so needless to say there are high expectations. From what I can tell, this new film will be the first Eggers film not to be distributed by A24 as 20th Century Studios have locked it in which shows the faith the big budget studios have in him. Hopefully the studio will give him the freedom to follow his vision through like A24 do. There is no doubt that Eggers has a hugely exciting future ahead of him in the film industry and it will be interested to see what else he comes up with.

Which Robert Eggers is your favourite? Let me know in the comments below!

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The Lighthouse (2019)

Robert Eggers’ follow-up to 2015’s The VVitch is a mind-bending mesh of chaos, insanity and broken masculinity. Starring Robert Pattinson and Willem Dafoe as two lighthouse keepers who are stranded on the island after a storm hits, The Lighthouse shows the men’s mentality break and crumble in a fashion never before seen on film. Co-written by Eggers and his brother Max Eggers and inspired by the unfinished short story “The Light-House” by Edgar Allan Poe, The Lighthouse is a brilliant look into madness and mayhem from the outset as the protagonists drink themselves into oblivion when a storm hits. Distributed by the illustrious A24, the film has become instantly iconic for it’s beautiful cinematography, brilliant screenplay and magnetic performances. It is a film that commands attention from the outset and despite it’s simple plot, it is sublimely complex and groundbreaking. Eggers has proven yet again that he is a filmmaker to watch. More like his contemporary Ari Aster (Hereditary and Midsommar), Eggers is bringing a new perspective on the horror genre. His films are not afraid to be gory and disgusting in a different way while also bringing in dark humour and aspects of magic realism. Incorporating sea folk such as mermaids and sea monsters in a space where they are clearly fantasy to begin with but slowly slip into the reality and getting to the point where their existence could be argued.

Robert Pattinson proves that he is on a promising streak of strong performances following his stellar turn in Claire Denis’ erotic sci-fi High Life (you can read my review here). Pattinson plays Ephraim Winslow, a newbie to the lighthouse keeping game who is put to strenuous tasks by the elder Thomas Wake. When he finds a mermaid ornament hidden in his mattress, Winslow becomes fascinated by the eroticism that the sea has and becomes sexually obsessed to the point where his fantasies and realities collide. Even he doesn’t know what is real by the end of the film. The events in the film act as an awakening for Winslow as well as proving to be his demise. He’s a character who never feels settled and is clearly out of place in the job. His inability to understand why what they do is important and Wake’s reluctance to allow him to see the light actually prove to be motivators for Winslow as he doesn’t allow the job to overwhelm him. Pattinson’s character is manic, quiet and calculating at the same time and I think this film is solid proof of how far he has come from his Twilight days. Considering he found fame in a mainstream franchise and will be starring as the titular character in the new Batman film, I think starring in indie films like The Lighthouse shows Pattinson’s passion and his desire for good characterisation and artistic growth.

Williem Dafoe and Robert Pattinson in director Robert Eggers THE LIGHTHOUSE.

Willem Dafoe gives a flawless performance as is expected. Undoubtedly one of the best working actors today, Dafoe’s portrayal of the elderly Thomas Wake is a revelation. He is boisterous and unafraid to stand his ground, having no trouble delegating all the hard work to his companion. At the same time, there are many moments when Wake will change his stories and claim that the stories haven’t changed at all. It’s a role that requires fearlessness which is something that Dafoe has in spades. Known for his controversial roles and ability to play any character to perfection, Dafoe manages to reach yet another career best which is amazing considering the performances he has pulled off the past few years, particularly his turn in The Florida Project. What differs with his performance in The Lighthouse, however, is that this role feels more fantastical and removed to how we usually see Dafoe and the result is immense. I firmly believe that he was deserving of Supporting Actor nominations through awards season but it wasn’t to be as The Lighthouse was shut out from most categories. I think what Dafoe does brilliantly is challenging himself and showing time and time again just how much range he has as a performer. Wake is a despicable man who takes advantage of his protegee and yet he is captivating, incomprehensible and misunderstood.

The score by Mark Korven marks his second collaboration with Eggers after providing the eerily fantastic music for The VVitch. Created in a similar vein to the aforementioned, the score for The Lighthouse is clearly inspired by old maritime songs and merged with traditional horror tones. The result is a suspense filled mesh of mayhem that stands out clearly against the black and white backdrop of the film. It feels timeless and yet not suited for any time with its standoffish tone. There are many jarring string pieces that are like the tempting siren but then contrasting with the stormy surrounding and building tension as the relationship between the protagonists becomes more unbearable. Looking back, this has been a fantastic year for movie scores and even among all the best soundtracks, The Lighthouse proves to be equally simple yet effective, heightening the viewing experience.

lighthouse2

I think this is a film that has the potential to go down as a horror classic. It feels experimental and brave, pushing the boundaries on film-making through the use of its contrast between simplicity and complexity. It’s a horror in many ways from its gore to its mental abusive nature and the inability to trust in its lonely characters makes it a nail-biting experience. I think it’s a real shame this was locked out of almost all categories but glad that Jarin Blaschke was recognised for his phenomenal cinematography. The Lighthouse has proven to be a marmite film among film lovers but it is a deeply rewarding experience and the vision is executed beautifully. It’s a film that I look forward to viewing again and again as I think I’ll notice even more elements that I admire. It makes me keen to see where Eggers’ career will take him next and eager to see if he continues with his great collaborations.

What did you think of The Lighthouse? Let me know in the comments below!