Wacky and wonderful, with a second half in particular that’s a non-stop barrage of laugh-out-loud hilarity (see Furby’s “Let the dark harvest begin!” and later, “Mom’s scary now”), wild action (see Linda’s first battle and oil splatter), and waterfall-eye emotion (see the moose and “No, this is easy”). Rounding it out are great visuals (see the cool comic-style add-ons), a uniquely likeable protagonist, and commentary on tech and generational differences that’s funny and ultimately well-rounded.
A uniquely unsettling character study, leaning hard into its leads’ imperfections, inscrutability, and feelings of fear, pain, regret, and parental ennui in past-present parallel examinations of motherhood, helped by terrific performances, good editing, an enigmatic soundtrack, and in-their-face cinematography. Could have benefited from a tighter focus (Lyle and the Greek gang felt a bit unnecessary to the thrust of the film) and a less easy and orange-y final scene. Cool titles after though.
It’s slow and subtle psychological horror (the poignant production design parallels are powerful here, as is the intentionally convoluted time/place/person-jumping script) that ditches easy “losing mind” thrills in favour of a meaty, beating-heart character drama core which Hopkins masterfully drives home to the homelessness of the crushing final scene (“I have nowhere to put my head down anymore”) with the many emotions of the journey (confusion, anger, and bittersweet charm and ignorance).
A skilled London police officer is transferred to a small town with a dark secret. (IMDb)
Hot damn, this is jam-packed full of all the riotous comedy and insane action sequences you could ever want in one movie, with the clever whiplash editing cinching it up together with the surprising whodunit plot into a compact water balloon of explosive fun to smash in your face. The sleepy yet secretly sinister small town setting is executed to perfection thanks to a great supporting cast and Pegg and Frost are a highly enjoyable odd couple at the forefront. Marvelously scripted throughout.
Despite great turns from the three leads, it initially comes off feeling a little long, cold, and empty (though the style is fabulous–see the elaborate costumes and sets contrasted with the curt, crass dialogue; the marvelous cinematography and editing–love those fish-eye shots and slow cross-fades). Upon further rumination though the chilling arc for Stone’s Abigail comes into focus, as does the intriguing commentary on the volatile mix of political power games with romance and relationships.