karmaswimswami

After the epic and vaunted "Dogtooth," Yorgos Lanthimos recollects his sangfroid and regroups in Cincinnati to channel afresh the deeply dysfunctional archetypal relationships he knows. He here uses to fine effect a number of subtle filmmaker tricks to evoke a genuine, primitive sense of dread. 7 stars and not 8 or 9, however, because like a Peter Greenaway film, this one resonates and resonates with itself, turning in on itself like salt water taffy, without ever reaching authentic resolution or explication. Certain scenes have such bloodless coldness and unnecessariness as to make life seem garish and bleak. Celebration of life warts and all, self-discrepant though it generally is, would seem to be an ironic ubermotif in Lanthimos' oeuvre, but that thread runs thin here and then vanishes, no greenroom with champagne in it for anyone. Or is that too his point? Distilled acting from Colin Farrell and Barry Keoghan. I'm ready for Nicole Kidman to retire her nude filmic self.

I wonder if I saw the same film on which plaudits have been heaped by critics. At hand is a war narrative told on an Emily Dickensian slant that refuses to trifle with toothy commodities like character development, storyline, protagonist or climax. CGI is dodged to make room for soul and authenticity in this film, but soul forgot to audition. Extreme budgetary considerations went into creating authentic air and sea battle depictions, and nuanced lenswork is on hand with a shrewdly deployed color palate, but the film is no more endearing than a cold limp handshake.

While Charlize Theron is in fine form and as ready for action as Jennifer Garner at her best, would-be scintillating performances from lofty talent like John Goodman, James McAvoy and Toby Keith wither in the film can. The 80s disco dance tune soundtrack never manages to congeal this film into narrative totality or wholeness. Much impressive and fine action is on display, but edited with frosty detachment verging on disinterest...and an extra camera angle or two thrown in to foment the violence would better engage viewers. Segments of good narrative try to take flight here, but never achieve altitude. The viewer tries to bond with Theron's strong lead character but the presumptuous production values, pacing, cutting style and vague borrowings from other genres (Bond, Bourne, Le Carre epics,, Eastwood, "The Departed") keep this film from ever becoming its own thing. A re-edit from start to finish could make this film considerably more compelling. Otherwise, meh. This blonde may be atomic, but critical mass is never achieved and fission never occurs.