REVIEW: Take Shelter

Take Shelter
Directed by: Jeff Nichols
Written by: Jeff Nichols (screenplay)
Starring: Michael Shannon, Jessica Chastain, Tova Stewart and Shea Whigham

Madness and the movies have an unprecedented history in front of and behind the camera, from the institutional insanity of One Flew Over the Cuckoo’s Nest to Francis Ford Coppola’s infamous filming nightmare during Apocalypse Now.  Madness inhabited the whole of both of those productions, but the writer/director Jeff Nichols takes an individual approach with his new film Take Shelter.

Take Shelter has much more in common with Melancholia (another apocalyptic vision from 2011) than it does with either of those 70s hysteria classics, though.  Its focus is individual madness by way of the apocalypse.  Pairing the two together, however, makes the madness justified.  Curtis (Michael Shannon) is plagued with frightening nightmares in his sleep and in reality; his dog attacks him, zombie-like strangers abduct his deaf daughter and a menacing swarm of birds zip around the cloudy sky.

Nichols restrains those visions though, holding back on gore in favor of mood and tension. Take Shelter is a fairly basic “Why doesn’t anybody believe me?!” story on the surface, but Nichols throws a wrench in those proceedings by alienating the audience from Curtis as well.  Not only do his wife (Jessica Chastain) and co-workers slowly drift away from him, but the audience privy to his disturbing hallucinations do as well.  Depending on how you read the ending, though, Curtis may have the last wicked laugh.

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ARCHIVE REVIEW: Revolutionary Road

Revolutionary Road
Directed by: Sam Mendes
Written by: Justin Haythe (screenplay), Richard Yates (novel)
Starring: Leonardo DiCaprio, Kate Winslet, Michael Shannon, and Kathy Bates

The way cinema portrays it, I’m led to believe absolutely no marriages of the 1950’s ended well.  With all of these shattered dreams and repressed rage foaming to the surface, it’s difficult to see how these people have time for mowing the lawn or raising the kids.

In fact, the children hardly make an appearance in Sam Mendes’ adaptation of Revolutionary Road, originally a cult novel written by Richard Yates.  They are alluded to, yes, but their most prominent function is to make Leonardo DiCaprio’s Frank Wheeler feel guilty about cheating on his wife April (Kate Winslet) on his birthday.  There he is walking into his own house, and here comes a birthday cake, a happy wife, and two smiling kids right after he got done staring ominously at the steering wheel of his car and feeling dreadful.

It’s this dreary mood of hidden secrets and suburban angst that drives much of Revolutionary Road. And though the children rarely appear, the adults do enough childish dreaming of their own.  April and Frank decide to move to Paris, an aspiration they remembered and want to achieve.

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