Lewis Dutchman’s review published on Letterboxd:
Taken way too long to check this out but have been amped to check this out ever since seeing it on Odeon's website and reading the plot knowing just from that was right up my street and seeing the critics quotes further adding to the hype and knowing little else, was to immerse myself in this dark, gloomy and icy world that eldest son of the Norman Bates himself Anthony Perkins Oz has crafted and whether it is true the hype was real or not. It certainly isn't what some reviewers have said being the “the scariest film of the decade” Perkins film certain as hell knows how to get an audience squirming in its seats. It is the first word that comes to mind when thinking the most terrifying standout scenes of the film, it’s just incredibly wholly squirm inducing.
From scene one of its troubling unsettling opening onwards, there is an aura of something being off, something just doesn't sane in this film and it’s suffocating, relentless and has audiences in a chokehold, it never letting them go. What can be said as this is on of the most original and unique horrors released in recent years in where it goes and it tackles themes are executed faultlessly, in such a visceral , vibrant and vivid way that is always so effective. A film that touches on and talks about the results of childhood trauma, in how the actions of our parents shape our futures and effects of becoming overly obsessed with religious scripture and ideologies particularly satanism and book of revelation, themes that are worn on its sleeve with visual metaphors that I’ll be stewing over for awhile.
One the rightly biggest points about this film is Nicolas Cage’s performance as the titular serial killer character and he is magnificently macabre and disgusting that this has to be one of my favourite performances from him. His makeup looks fantastic and just knows how to consume himself in a role to a point its difficult to tell it is actually him compared to the character he is playing and in doing so knows how to get under audiences skin and fester with his voice and physical performance, like with any of Cages previous performances it is truly an distinctive and unlike anything he has ever done before and knowing how to make an significant impact with what is actually very little screen time But even with that he feels he is still there hunting every fibber of the screen.
While it is unquestionably the praise for Cage's is well deserved it shouldn't be overshadowed by Maika Monroe's shy, awkward and intelligent FBI agent Lee Harker and Alicia Witt's malleable and mysterious Harker's mother Ruth are true scene stealers. Witt knows what’s needed for a role like hers and absolutely pulls it off, with many memorable scenes where she is a force to be reckoned with.
Monroe, on the other hand, provides what is my favourite performance of the film whilst standing alongside Cages. The Silence of the Lambs comparison mummering's from some that’s been going around is accurate, an influence that has been palpable and obvious throughout through its camera work with frequent slow zooming close ups on faces and something that looks out of the ordinary in the background to some of the setups of the scenes to one or two of Cage’s costume choices particularly his white suit being fairly close to the one Lector wears at the end of the film, Perkins pays homage to the Jonathan Demme masterpiece as an excellent tribute and never is ashamed of hiding it. It’s Monroe’s performance where the biggest comparison of Silence can be found, extremely reminiscent of Jodie Foster’s Clarice Starling but her performance is far from being an imitation or cheap attention grabbing of the role, it’s far from it. She takes those moments of inspiration but does an fantastic job in transforming and moulding them to her character, making this strong yet in-experienced naïve and traumatised character so interesting in the process. Alongside, this there is tinges of Hugh Dancy's Will Graham from Hannibal from her methodical style of working to the ability to understand the killer she tracks and in some instances recreates what Longlegs is thinking in order to fully emphasis.
While much of the horror is largely psychological and benefitting from well placed jump scares which are few and far between, there is also some grisly bloody gore to be found and are made nauseating thanks to some outstanding practical effects that standout, adding some hefty punch to a few scenes particularly month old decomposing bodies of some parents. Even so, as impeccable as the performances are, now i don't want to comment really 'what the scariest' thing is due to how polarising and subjective of what triggers people to be terrified across demographics and can be made up with multiple different factors. But the atmosphere in the film is up there to be one of the more unsettling aspects. The uncomfortable interactions/chats even between protagonists, being caught off guard by the unanticipated moments of eerie horror during quiet scenes, and those dolls (ugh hate them regardless always freaked me out).
The cinematography is eye-catchingly stunning, making use of widescreen and the 4:3 aspect ratio, static shots and perfect lighting. This film wouldn’t be as creepy as it is without both the unforgettable cinematography and the phenomenal thumping heartbeat like score that accompanies it, with the sound design as a whole being very impressive.
Even the moments of silence knows how to efforts to build tension especially when when statics shots are in use aside from them, when the camera begins to mannover and be in the line of sight of Monroe’s character, it makes us fully aware that audiences would be tagging along for the ride with this character for every second and really ramps up the suspense in doing so.
Overall, don't want to hear happy birthday or cuckoo for a good few months.
