‘Horizon,’ Where Art Thou?

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CREDIT: Warner Bros. Pictures/Screenshot

Starring: Kevin Costner, Sienna Miller, Sam Worthington, Michael Rooker, Danny Huston, Jena Malone, Michael Angarano, Abbey Lee, Jamie Campbell Bower, Jon Beavers, Owen Crow Shoe, Tatanka Means, Luke Wilson, Ella Hunt, Tom Payne, Georgia MacPhail, Will Patton, Isabelle Fuhrman, Jeff Fahey, Gregory Cruz, Scott Haze, Angus Macfadyen, Etienne Kellici, Charles Halford, Dale Dickey, Wasé Chief, Elizabeth Dennehy, Hayes Costner, Alejandro Edda, Tim Guinee, Colin Cunningham, James Russo, Douglas Smith, Larry Bagby, Dalton Baker, Chase Ramsey, Naomi Winders, Austin Archer, Giovanni Ribisi

Director: Kevin Costner

Running Time: 181 Minutes

Rating: R

Release Date: June 28, 2024 (Theaters)

Many of my movie reviews operate by a simple question. And it goes a little something like this: do I want to have the sort of life portrayed in the movie that I’m reviewing? And so, now that I’ve seen Chapter 1, it must be asked: would I like to live in Horizon? Eh, I can pretty confidently say, “No, thanks.” I’ll see if I can summon back up some interest for Chapters 2-4. Maybe if it turns out the whole story was based in-universe on the drawings of the dopey English couple, then I’ll be satisfied.

Grade: Too Many Horizonites in the Horizon Spoil the Western Broth

‘Love Lies Bleeding,’ and Don’t I Know It

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Bloody good. (CREDIT: Anna Kooris/A24)

Starring: Kristen Stewart, Katy O’Brian, Ed Harris, Anna Baryshnikov, Jena Malone, Dave Franco

Director: Rose Glass

Running Time: 104 Minutes

Rating: R

Release Date: March 8, 2024 (Theaters)

I was already on board for Love Lies Bleeding when it was introduced to me as the erotic Kristen Stewart bodybuilder crime thriller. (The supporting cast members were just the icing on top!) But it could also be summed up as:

On her way to Las Vegas, a woman sleeps with a married man, who then helps her get a job with his father-in-law. Then she coincidentally meets and falls for the married man’s sister-in-law.

If I had heard that synopsis, I wouldn’t need to know anymore. What a compelling knot! Anyway, the actual movie did indeed live up to that setup.

Grade: A Bunch of Muscles Out of a Big Crater

‘Antebellum’ is Truly Confounding

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Antebellum (CREDIT: Matt Kennedy/Lionsgate)

Starring: Janelle Monáe, Jack Huston, Jena Malone, Eric Lange, Kiersey Clemons, Gabourey Sidibe, Marque Richardson, Lily Cowles

Directors: Gerard Bush and Christopher Renz

Running Time: 106 Minutes

Rating: R for Tortuous Torture

Release Date: September 18, 2020 (On Demand)

It’s pretty much impossible to talk about certain movies in depth without completely spoiling them, and Antebellum is one of those movies. So just so we’re on the same page right at the top, I’m going to get pretty in depth. But I don’t feel like I’m giving away spoilers, because the main twist of Antebellum (or what could be construed as the twist) feels more like the premise. If the writer/director duo of Gerard Bush and Christopher Renz are trying to surprise us, they don’t do a very good job of it. But the way they tip their hand so early, I don’t think they’re trying to play coy. But if that’s indeed the case and they want things to be loud and clear, it raises some questions about why they chose to reveal their information the way that they do.

When I first saw the teaser trailer for Antebellum, I assumed that Janelle Monáe was playing a 21st century woman who finds herself enslaved after becoming inexplicably transported to a pre-Civil War plantation. I didn’t know else to interpret it! The only question was, how did she get there? Was it time travel? An alternate dimension? An illusion? A series of dreams that feel all too real? Whatever the explanation, I thought it made for a potent setup. But alas, Bush and Renz aren’t really interested in reckoning with the terror of this situation. Instead, they just present it as is.

Antebellum opens on the plantation, and it takes about 40 minutes before we see Veronica Henley (Monáe) in her element in the present day with her husband and daughter, doing her thing as a successful author and scholar of vaguely elucidated intersectionality. That’s quite a long time for a prologue that tells us all we need to know in five minutes. There are people on the plantation being held against their will, and we don’t need to see them getting tortured, because we’ve already seen it in plenty of other onscreen slavery narratives. Let’s just get around to finding out how they ended up there and how they’re going to attempt to escape.

And now I’m just to get into all the nitty-gritty, so even bigger SPOILER ALERT if you want it, but this piece of information felt like the only possible explanation as soon as I started watching: Veronica and all the other enslaved people are kidnapping victims, and the plantation is a reenactment of an Antebellum South plantation, complete with slave masters and all kinds of abuse. Somehow the people behind this criminal enterprise have been able to pull it off without ever arousing suspicion from the authorities or the general public. Or maybe suspicions have been aroused! It’s hard to tell, because we never get a significant sense of the context in which this place has been erected. I can buy that there’s still enough racism in the world for there to be an interest in a place this awful, but I can’t buy that it’s practically invisible unless it exists in a fantastical world. Bush and Renz have a kernel of an effective idea here, and they’ve got a bunch of game actors ready to deliver, but they need to pay attention to all those pesky details.

Antebellum is Recommended If You Like: Trying to make sense of the inexplicable

Grade: 2 out of 5 Plantations

This Is a Movie Review: The Neon Demon

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neon-demon

About halfway through The Neon Demon, I realized, “Oh, this is a comedy.” The audience had been chuckling throughout, and I wasn’t sure if those moments were meant to be funny, but after a certain point, I thought, “This has to be intentional.” It hit me during the scene when Jesse (Elle Fanning – innocent, affectless) and the cabal of models (Jena Malone – fierce; Bella Heathcote – piercing eyes, affectless; Abbey Lee – severely angled, affectless) are at a bar with a designer (Alessandro Nivola). The entire movie’s dialogue is so devoid of personality and context, but the bar scene is where it is really heightened into Waiting for Godot-worthy absurdism. Nivola pokes at the core of the statements that aim for profundity and mean nothing. I don’t know if Nicolas Winding Refn intended to make a parody of an overly stylized art film, but that is what he did.

Like any good parody, The Neon Demon intuitively understands the genre it takes aim at. But it actually comes at it a bit sideways. The plot (young ingénue is eaten alive by a performance industry) is not so much the target of lampooning as much as it is the canvas draped in self-evident pretentiousness. We’ve seen this story before – All About Eve, Showgirls, Black Swan, etc. – but never this deconstructed. If you cannot jive to The Neon Demon’s wavelength completely, fear not, as its closest antecedent is Suspiria. Just like that landmark giallo, the plot is opaque, but the aesthetics (hypnotic score, violently vibrant colors) are undeniable. See this one on the big screen, and be agog.

I give The Neon Demon 8 Examples of Symbolic Cannibalism out of 9 Implied Promises of Real Cannibalism.