Tag Archives: Ari Aster

MIDSOMMAR (2019) – CINEMA REVIEW – AMAZING FILMMAKING LET DOWN BY WEAK STORYTELLING!

MIDSOMMAR (2019) – CINEMA REVIEW

Written and directed by: Ari Aster

Produced by: Lars Knudsen, Patrik Andersson

Cast: Florence Pugh, Jack Reynor, William Jackson Harper, Vilhelm Blomgren, Will Poulter etc.

Music: The Haxen Cloak

Cinematography: Pawel Pogorzelski

**MAY CONTAIN SPOILERS**

Midsommar (2019), is ultra-talented filmmaker Ari Aster’s second feature film. His first Hereditary (2018), was two-thirds domestic horror masterpiece and one-third insane, symbolic, nonsensical and demonic denouement. Both films have a lot in common. Both have communes or cults at the centre led by strong matriarchal figures. Both find seemingly innocent characters suffering from grief being lured to a fateful demise. Both have incredibly rich visual systems full of striking imagery, sudden violence and mythological folklore. Both, especially Midsommar (2019), are overlong, pretentious and indulgent B-movie stories masquerading as art.

I have to say, and I am not coming from simply a mainstream perspective, Ari Aster is a film artist. However, unlike many great film artists he has, in my opinion, not managed to marry his vision with coherent and emotionally powerful storytelling. Midsommar, for example, takes an age to kick its narrative into gear and when it finally gets started it drags and drags and drags. How many long, drifting tracking master shots can you abide? How many drawn-out-so-pleased-with-myself takes do you have the patience for? Well, get a strong coffee because when the story cries out for pace, Aster puts the brakes on, marvelling in his own indulgent genius. I might add that a plethora of characters screaming and crying does not make good drama either, unless there is sufficient context.

The narrative is very simple. In a nutshell, it’s Eli Roth’s Hostel (2005) meets British horror classic The Wicker Man (1973). Florence Pugh, Jack Reynor, William Jackson Harper and Will Poulter are college students who take a summer break to experience a communal pageant in rural Sweden. While they are PHD students they are not particularly intelligent given the choices they make later in the film.

Moreover, aside from Pugh’s grief-stricken Dani, the script doesn’t particularly imbue them with much in the way of empathetic characterisation. Indeed, the film relies on Pugh’s dominant performance to create emotion for our protagonists. Aside from providing some comic relief there is no actual point to Will Poulter’s character at all. Lastly, there is some absolutely terrible dialogue throughout this film too.

As the film crawls along slowly, it’s reliant on the music to inform us we’re meant to be scared. Then when the gore does kick in during a particularly shocking ritual, I was almost falling asleep. Don’t get me wrong the production design is flawless with an amazing setting and incredible concepts from Aster. The death and torture scenes are particularly memorable. However, the overall pace and rhythm of the film is so bloody slow I just did not care about anyone by the end.

I don’t mind methodical films establishing dread and psychological fear, but I think Aster has been watching too many Kubrick films. Aster seems to believe slow equals art. What Kubrick did though was usually to have characters that were engaging. They may not have been likeable, but Kubrick’s characters hit you in the heart and mind. Not since The Blair Witch Project (1999) have I wanted such dumb characters (Pugh aside) to die so painfully in a horror film. Likewise, the characters in the Swedish commune are mere ciphers of Aster’s fantasy horror and two-dimensional at best.

Visually stunning Midsommar (2019), will no doubt impress critics and other reviewers. However, at nearly two-and-a-half hours it’s an indulgent-arty-collage-of-film-masquerading-as-therapy. The ending was so loopy that the audience I was with were laughing at how ridiculous it was. Perhaps that was the filmmakers’ aim, but I’m not so sure. Yes, I get that this is meant to be allegorical and symbolic about grief and guilt and religion and a relationship break-up and fate and cultural differences. Furthermore, I get the intellectual depth of the themes on show, but Aster tortures the audience as much as his characters. Mostly, it just doesn’t take so long to tell this kind of derivative narrative, however beautiful and artistic the film is presented.

Mark: 6 out of 11

HEREDITARY (2018) – CINEMA REVIEW

HEREDITARY (2018) – CINEMA REVIEW

Directed by: Ari Aster

Produced by: Kevin Frakes, Ridley Scott, Buddy Patrick

Written by: Ari Aster

Starring: Toni Collette, Alex Wolff, Milly Shapiro, Ann Dowd, Gabriel Byrne

Music by: Colin Stetson

Cinematography: Pawel Pogorzelski

**MAY CONTAIN SPOILERS**

hereditary-trailer_0

I’m tempted to do two reviews of this movie. Because there’s a minority part of me that feels its bravura and beautifully crafted horror film; but the majority part just could not get over the illogical and surreal elements which unhinge the carefully plotted family tragedy it promised to be. Nonetheless, the writer and director Ari Aster is clearly an ultra-talented filmmaker who deserves much praise for creating a series of impressively creepy scenes throughout. Still, he does throw a lot of ideas at the wall hoping they stick so many critics will probably love Hereditary, unfortunately it lost me some way through due to a major plot and tonal turn which, while foreshadowed, did not really make any emotional sense.

Hereditary-trailer_1

The story begins with the Graham family mourning the death of Annie Graham’s (Toni Collette) mother. From beginning to the end Collette’s portrayal is absolutely incredible and she deserves any awards that are coming to her. Indeed, Collette anchors the film with moving and incredibly dramatic performance. Her character is very empathetic suffering tragedy after tragedy and attempting to come to terms with the devastation life brings.  She is ably supported by Gabriel Byrne as her husband; while Alex Wolff and Milly Shapiro offer excellent support as their troubled kids. Shapiro especially is well cast as the unstable teenage girl who may or may not have some darker force within her.

The film begins slowly and creeps along for forty minutes or so building dread and atmosphere. Collette has some fine speeches about grief and family relationships and this is where the writing is very strong. These scenes showcase Collette’s acting ability before the action takes a vicious twist with one grandstanding horror moment half-way through. This is where, in my view, the film suddenly started to become lop-sided and full of debateable plot-holes. Don’t get me wrong, if you read the film as a supernatural fantasy full of surreal and dream logic like the cinema of Luis Bunuel and David Lynch, you can swallow much of what happens in the final act.  Moreover, symbolically and thematically Hereditary is very strong with issues relating to grief and dysfunctional family relationship very well explored. However, due to a ridiculous final act where the film moves away from this my empathy for the family was lost in a number of wildly over-the-top scenes, which while scary, made little sense in my humble opinion.

Hereditary-Trailer

Hereditary (2018) is a “Mother” of a horror film!!  Indeed, it has much in common with last year’s divisive work of cinema directed by Darren Aronofsky called Mother (2017). Like Mother (2017) it is a brilliantly directed horror story with great acting throughout, that alas, falls apart at the end with narrative illogic, plot-holes and a laughable denouement. It’s a shame because the first half of Hereditary is beautifully set up. The visual style involving miniatures, shadows, weird dolls’ head and bird decapitations is creepy and very impressive. However, the filmmaker’s fantastic work is destabilised by a narrative desire to twist the film into something pretty crazy. Yet, Ari Aster deserves much praise for taking risks in the horror genre and his and Collette’s craft are of the highest order; at least until the ending.

(Mark 7.5 out of 11)