CATS: Peanut Butter And Jellicles

Every year, the Jellicle cat tribe has what they call The Jellicle Ball. In it, Jellicle cats sing Jellicle songs to the Jellicle leader Old Deuteronomy (Dame Judi Dench) and she decides which Jellicle cat gets to Jellicle go to the HeavySide Layer Jellicle for a new Jellicle life. But Jellicle the wicked Macavity (Idris Elba) wants to make sure he is chosen, by Jellicle hook or Jellicle crook.

     Tired of hearing the word Jellicle yet? That's kind of how I felt after the first few minutes of CATS. I swear, if they made a drinking game of the number of times that that one word was spoken, the audience would be dead from alcohol poisoning before the finale. In terms of overexaggerated hyperbole when it comes to this film, that's about the best I've got for you. I didn't outright hate this film. I got over the supposed "uncanny valley" CGI humanization of the feline characters rather quickly. There seemed to be genuine effort and skill put into this production and all of the performers seemed to be giving it their all and having a blast doing so. There's just one simple problem. I just didn't care.

     I had never seen CATS before so I went into this movie hoping for, if not a good story, then something so-bad-it's-awesome in just how spectacularly it fails. Hey, the trailers made it look like it look like at least the latter, right? Well, what I came away with was a bunch of characters being introduced to me, having their personalities and traits sang to me and then oh, look at the time gotta hurry along to the next character and musical number and yes, they ALL get musical numbers. Some characters even get two!

      In terms of concepts, it's certainly unique and not without ambition, but in terms of making a solid narrative structure, it's found wanting. And this is with the film adding more structure into the story than the stage play has, as I've been told. The lack of a strong narrative made it difficult for me to get invested in these characters and their goals. It's not that I don't get it. I just didn't care about any of the characters. It's not that a story can't be found in this musical. It's that the production never seems all too interested in telling us about it. They're content to just speed through song after song like a Spotify playlist in the Speed Force.

     I've seen all of the hand-wringing. I've heard the over-dramatized ballyhooing. I've noticed the hype of this movie being likened unto peeling back the thin veil of this reality to simply glance at the totality of the dark underbelly of this universe and going mad from the revelation. To all of this, I simply say. This isn't that crazy. Is it an odd choice? Yes, but CATS is not a conventional musical production in a multitude of ways. It's basically Andrew Lloyd Webber putting music and dance numbers to T.S. Elliot poetry. It's one thing to not like the movie, and that's perfectly fine. But is it the worst movie of the year? Serenity would like a word with you.

     My friend Matt, who saw this with me, is a fan of the musical, having seen it back in San Francisco many years ago. He explained it thusly: "People don't go to see CATS for the story, they see it for the dancing and the music." And I will give credit where it's due, the dancing numbers and music are very well composed and performed. Francesca Hayward, a ballerina in the Royal Ballet at London's Convent Garden, is an amazing dancer with near-perfect body control and the ability to mimic cat-like movements. What little acting she did here won't light the world on fire, but not a whole lot of standard non-singing acting was given to anyone.

     Jennifer Hudson's rendition of "Memory" was the highlight of the movie. She brings power, emotion and depth to her vocals and for a brief moment, she seemed the most compelling character on-screen. Everyone else seemed like they were at least having a good time, especially Idris Elba's Macavity. Ian McKellen and Judi Dench do the best they can to class up the place while James Corden and Rebel Wilson are there to be James Corden and Rebel Wilson and if that's your thing, that's cool.

     I would like to note that, as of the writing of this article, I have not seen the new "update" version of CATS. I have no plans on seeing it, either. Mainly because it won't really effect or change my opinion on my enjoyment or lack thereof of this movie. Also, this kind of sets a dangerous precedent that studios can just rush out unfinished films and then "patch" them later so they can have folks pay to watch the same movie twice trying to play "Spot the effects change!" I'd say I sure hope that studios don't adopt the video game plague upon mankind that is "Crunch" (corporate practice that abuses computer-animation/game programmers to work almost 24/7 to rush projects to market before they're even finished or tested). But then it's corporate studios and if there's a way for them to make all of the money right now, workers well-being, either physical or mental, is no object.

     That all being beside the point, CATS is definitely an experience. Not one that engaged me particularly well, but I did find things to appreciate about it. The bombastic music and terrific dance numbers are as good as advertised, but I guess I was just hoping for more story meat on the bones of this Jellicle. If you have a chance to see it, do so with fresh eyes and perspective.

Jumanji: The Next Level In More Of The Same

Three years after their first adventure in the magical world of Jumanji, Bethany (Madison Iseman), Fridge (Ser'Darius Blain) and Martha (Morgan Turner) have all reunited in their hometown of Brantford.Conspicuous by his absence is Spencer (Alex Wolff) who came home to spend the holidays with his mom and grandfather Eddie (Danny Devito). Eddie's former friend and business partner Milo (Danny Glover) comes by to reconcile but it rekindles a bitter disagreement. As Bethany, Fridge and Martha try to find Spencer, they realize that he has somehow returned to the world of Jumanji and go in after him. But, unbeknownst to them, Eddie and Milo have been brought along for the ride.

     I rewatched Jumanji: Welcome To The Jungle  in preparation for this and to keep things fresh in my mind. It's a pretty fun, if basic, adventure/character piece that gets good performances out of its star-studded cast. (I could watch Karen Gillan kick-ass to "Baby I Love Your Way" all day everyday but that's beside the point).Jumanji: The Next Level is more of the same, which if you liked the first movie, will be a welcome treat.

     This time around, Dwayne Johnson gets to try out his impressionism skills as he spends the majority of the movie playing Danny Devito's character Eddie in the body of  Dr. Smoulder Bravestone. He affects a stereotypical Brooklyn stereotype accent and complains a bit, acting completely oblivious to the game world around him except for when it's time for him to jump into action. Kevin Hart returns to play Danny Glover's Milo, giving him a slower but deliberate cadence. After a while, it does become a bit grating, but it's likely by design since they do have an in-story method of switching the previous players to the original bodies and putting the newer players into new playable characters. After a while, it basically just becomes a game of "guess which character is playing which other character."

     That all being said, the film's humor is heavily reliant on the interactions between the characters as well as the elderly Eddie and Milo trying and failing to adjust to their new surroundings; So, much like most elderly people thrust into playing a video game. It helped to endear the characters and provide them with growth beyond their usual roles in reality. While the same is hinted at for a good portion of the running time, it's interesting that they chose to have the characters switch avatars into things supposedly more suited to them.

     Also, I know that characters tend to have arcs in these kinds of stories, but with Jumanji, both "Welcome To The Jungle" and "The Next Level" have an almost be an extreme form of therapy for many of the characters. Though in the case of both Alan Parrish and Alex Vreek (played here once again by Colin Hanks and Nick Jonas in reality and game respectively), it sets about it in the most traumatizing and psychologically brutal ways possible. But, and this occurred to me in the writing of this article, that the entire plot hinges on one of the main characters not being willing to talk to his friends. In fact, both Spencer and Eddie apparently have the familial trait of insecurity and grumpiness when it comes to their friends having grand life adventures or doing well in college.

     Much like the movie, aside from some fun interactions, as well as a brief backstory bit on Bravestone's parents stereotypical tragic origins (with Dwayne Johnson playing Bravestone's father), there isn't a whole lot to talk about with this movie. The themes are nakedly apparent as well as easily resolved once people actually stop to have an honest conversation. There's still fun to be had, but hopefully in the next installment (because there is sequel bait at the mid-credits point) will have something a little more substantial than just magical therapist with extremely loose ethics on boundaries.

Queen & Slim: Making A Modern Myth

     "Slim"/Ernest (Daniel Kaluuya) and "Queen"/Angela (Jodie Turner-Smith) start their evening like every other ordinary pairing: meeting at a diner after a Tinder match up. In any other world, they might have just had the one dinner date and never spoken to each other again. An overzealous and bigoted cop pulls them over, which results in his death via self-defense. Knowing the "justice system" will not look favorably on their involvement, Ernest and Angela decide to make a life or death trek across the country in order to flee the country, but not before learning their tale has made an impact on more lives than they could even imagine.

     I want to make something clear from the beginning. I have no education in Black history, iconography or culture. I am well aware that our economic, judicial, and even societal systems have been prejudiced against people of color for far too long and they desperately need to be overhauled, if not dismantled and rebuilt entirely. If anything, this movie is but one more example in media of the disparity in social justice. It may not reach everyone or affect them the same way, but it does provide a means to look into a culture that wants, needs and deserves more heroes and representation.

     This movie feels like an example of modern day mythology. Not in that the events that set off the story didn't happen, far from it. But that people see the events unfold and craft narratives from the aftermath. The media and police calls them criminals. Some people call them revolutionaries. Bokeem Woodbine's character, Queen's uncle Earl, jokingly declares them the new "Bonnie & Clyde." From outside perspectives, the pair have become infamous outlaws shirking the authority of a system that, often times, doesn't need an excuse to brutalize and oppress people of color.

     But as we travel with the perspective of both Queen and Slim, played with energy and real chemistry with Jodie Turner-Smith and Daniel Kaluuya, respectively, we find that they don't see themselves as icons or legends. The filmmakers remind us that these are scared shitless people who are trying to escape a bad situation. They constantly worry about being tracked down and caught, keeping one eye open almost at all times. Their journey only pausing in brief respites between stops on their way trying to flee the country. It's discussed that, had a twisted stroke of fate not interfered, they never would've gone on a second date. 

     The couple's unexpected and newfound notoriety spurs to action protests across the nation, particularly in a young man who makes a rash mistake, even if borne of genuine and deserved outrage. When Slim and Queen learn of this, they're shocked that their actions have led others to such ends. "We didn't want this" Queen protests when asked if they told the young man to take up arms against police officers. It showcases the unforeseen and tragic ways that people can take inspiration from people who've suffered legitimate injustices. Unfortunately, it's rushed along as the movie approaches its finale.

     By a technical standpoint (as much as I can tell, anyway),the tone of this movie sometimes takes wild and sharp turns from intensely serious to farcically comedic. There's a scene, right after a very scary showdown with a sheriff, where the leads go to a restaurant, pay a kid to go get them food, and when they are about to leave, run over the same child's father, who's talking them up as revolutionaries. All the while being taken to the hospital for the broken leg they caused. There's another scene where ErnestAs I had stated earlier, the last few minutes feel a bit rushed to getting into the climax. There's also pauses in the story that some might consider unnecessary, but I thought were at least decent character moments. I also found an interesting detail that despite the title, neither Ernest nor Angela are called Slim or Queen respectively. And we don't find out their birth names until the very end of the movie. But the film plays out in such a way that it almost doesn't matter.

     Legends aren't born, they are crafted by the hands of fate. When that happens, sometimes the only thing one can do is ride the wave, even when you know it'll crash violently against the rocks. And you hope you have a great tale for others to tell. It is through legends passed down through generations and the important lessons their lives teach that people truly are immortalized.

Frozen 2: Show Yourself Into The Sequel

     Three years have passed after Anna (Kristen Bell) and Elsa (Idina Menzel) reconciled and opened the gates of the castle to the people of Arendelle, the sisters celebrate Autumn with their subjects. But a mysterious voice calls out to Elsa. As she heeds the voice, the kingdom is besieged by elemental spirits who force the townspeople to flee town. Elsa and Anna must find out the connection of the voice with Elsa's powers and an enchanted forest to the north of Arendelle. Also Kristoff (Jonathan Groff) and Olaf (Josh Gad) come along.

     In the interest of full disclosure, I had not seen Frozen until this past Saturday in preparation for this movie and review. I'm glad I was able to go into this with fresh eyes and the previous film still fresh in my mind. That all having been said, I can say I get that why this IP has become as popular as it has. Even if its use of subverting conventional Disney tropes is a bit passe at this point, it is still an engaging, heart-warming story of sisterly love and learning to live without fear of others or of yourself. Frozen 2 shows that not everyone is strong enough to face their fears, but everyone has the capability of overcoming them if they are willing to.

     This time, we have songs about Autumn, being yourself, a Peter Ceterra-style power ballad about not knowing where you stand in a relationship, maturity, and so many more songs. If you like songs with a lot of musical numbers then Frozen 2 has more than its fill. I'd venture as far to say there's at least two too many. Elsa gets at least two big musical numbers, (Into The Unknown, Show Yourself) and they both feel important to the story on top of just being really good songs.

     The story this time around does expand the world of Arendelle somewhat, revealing an enchanted forest full of magical forest spirits and perhaps the secret behind Elsa's powers. We see that the conflict is not a particular villain they have to fight, which is pretty refreshing for a Disney movie, in my opinion, but the same enemy as before: fear. The entire theme of the story appears to be exploration and conquering fears of the unknown or that you don't readily understand.

     Watching both movies back to back, it occurs to me that the Frozen movies are, first and foremost, character movies. They focus more on the growing and developing relationships with Anna and Elsa and their respective friends circles. While Frozen was a bit more heavily focused on Anna repairing her bond with Elsa as well as finding what real love actually is, this time around Elsa gets the bulk of the heavy lifting with the onus of the story being how she gained her abilities as well as finding out more about her and Anna's parents.

     Kristoff and Olaf, for the first two acts, seem to simply tag along in order to remind us they're there, though Olaf's constant rambling about "water having memory" does provide some plot critical information later. Kristoff's only major contribution seems to be Lost In The Woods, the aforementioned 80's power ballad. It's a hilariously cheesy and over the top scene but I also get where he's coming from. He thinks highly of Anna and wants to propose but isn't quite able to get the words out properly, leading to, admittedly, groan-inducing misunderstandings between the two. He's a little insecure and unsure about himself because he finds himself struggling to keep up with someone who can challenge, if not surpass him. It's relatable but I don't think the movie really gets a chance to dig too deep into it.

     That's something of a flaw in Frozen 2. There's a rich, deep story beneath the glacier of potential, but the storytellers seemed to want to give us a small tidbit of it, not digging in too deeply into the world being built. We're introduced to the Northuldra, a Native American-esque tribe that resides in the enchanted forest and we're given virtually nothing about their history, their ancestry. All we're told is that they live in balance with nature, which is how some can commune with or harness the forest spirits. But once the mission is underway, them as well as Kristoff vanish for a good chunk of the movie.

     For the most part, I enjoyed Frozen 2, it's a good, logical continuation of the story of Anna and Elsa, changing from one status quo to the next. If I'm being honest, though, I'd either conclude the story here or maybe fast forward the story a few years. Or at the very least, explore the history of Arendelle a little bit more.

Special Thanksgiving Review!

On the morning after his 85th birthday, wealthy crime novelist Harlan Thrombey (Christopher Plummer) is found dead in his study of an apparent suicide. As the family grieves, Detective Lieutenant Elliot (Lakeith Stanfield) and State Trooper Wagner (Noah Seegan) question the bereaved family members in order to confirm their initial suspicions. Then enters private detective Benoit Blanc (Daniel Craig) to investigate the possibility of foul play. With the entire Thrombey family as possible suspects, the game is afoot.


     Knives Out director Rian Johnson stated a love for murder mysteries and it shows in this brilliantly complex but surprisingly straightforward whodunnit. There'll be no spoilers, but what I can say is that Johnson has crafted a puzzle so tightly written and meticulously put together it would make Agatha Christie proud. Johnson brings together an all-star ensemble cast putting on great performances all around, each player pulling off their characters with gusto and aplomb.

     The setting of a lone mansion out in an isolated field is nothing new for the murder mystery genre. One could say it's almost expected, especially if the manor has secret passageways and hidden rooms. There's even the eccentric private investigator whom the police call in to be the actual sleuth while they run errands and do some legwork. And ontop of all of that is a multitude of red herrings, each having their own motives and alibis for the time of death. But, as is usually the case, things are not as they appear to be. No detail is too minute, from prop knives to cases of mistaken identity both real and supposed Clue is mentioned in a funny throwaway line and the game GO is a game that Harlan liked to play with his nurse Marta, played by Ana De Armas.

     In the hands of a lesser creator, this could've been a mishmash of deceit, misdirection and fake outs. In my opinion, a good mystery is a story that gives the viewers everything they need to solve the mystery. It doesn't break its own rules or lie to the audience. It plays the game fair and square and lets you do the deducing and sleuthing alongside the gumshoe or protagonist. Here Rian Johnson plays around with the convention of the "gentleman sleuth" as Benoit Blanc's character is described as. Normally he'd be the focus, the character we spend the most time with. However, it's Ana De Armas's Marta on whom the film holds its focus. We go through her family life with her mother and sister as they live in a small apartment brownstone. We also see how she thinks on her feet and is able to outwit those who might do her harm.

     Another way that this film differs from the usual detective story is that the initial mystery is revealed early on. This sort of lulls the viewer into thinking this won't be a "whodunnit" but a "how will they get away with it." I know; that phrasing isn't as quick or punchy. In any case, There was well set-up tension all throughout the film as to how this person would succeed when everything seems to go against their favor. Every time they seemed to be in the clear, a new complication would occur, like trying to get rid of evidence, only for one of the family dogs to retrieve it like a game of fetch.

     The entire ensemble cast turned in great performances. Jamie Lee Curtis's Linda was a "keeping up appearances" uptight matriarch, Don Johnson were her doofus husband, Michael Shannon showed a slightly sinister side as the self-serving acting CEO of Harlan's publishing company. Toni Collette puts on her best "Karen" impersonation (the internet folks will get that) as Joni Thrombey, Harlan's daughter in law and a hippe-esque lifestyle guru. Joni and her daughter Meg, played by Katherine Langford, come off as the type of liberals who sound off on social injustices from the safety of their ivory towers but will turn as WASP-y as the rest of the clan if their livelihood is threatened. On the other side of the political spectrum, Jaeden Martell of the "IT" movies is given brief scenes as Walt's son Jacob, an avatar of online trolls, from whom Rian Johnson has experienced more than his fill of virtual vitriol. While Joni and Meg are shown as lacking the courage of their convictions, Jacob is outright mocked and made fun of. The Thrombeys are not nice people, except for maybe Harlan and his mother.

     Chris Evans is something of a show-stealer in his scenes as the arrogant, spoiled-rotten grandson Hugh "Ransom" Thrombey. He carries himself with an egotistical swagger sporting a sharp tongue and even sharper mind, despite never having made anything of himself. But it's Chris Evans's charm and sincerity that lets you look past the brash, immature, vulgar exterior to see glimpses of a good person underneath the playboy lifestyle. 


     Daniel Craig's Benoit Blanc is a true character right out of an Agatha Christie story. Delightfully eccentric, almost to the point of silliness but knows how to ask the right questions to get to the truth. When he finally hangs up the tux as Bond, Craig has another character he could easily turn into a franchise. Blanc is a throwback to Hercule Poirot in both method and inspiration. He didn't come off as a Holmesian type detective, or at least the ones that pass for it. Blanc isn't impossibly brilliant nor lacking in social skills or patience for courtesy. He was a gentleman sleuth through and through with a keen deductive mind. He never boasted about his brilliance like some geniuses in popular culture seem fond of doing, which was honestly refreshing.

     Knives Out  features a terrific ensemble cast, twists and turns that come right out of left field but don't insult the audience's intelligence, and some genuinely funny moments. I would definitely recommend everyone see this film as it is one of the best this year and I hope we get more like this from Rian Johnson, perhaps having Daniel Craig returning as Benoit Blanc to solve yet another oddball mystery of murder, intrigue and betrayal.

Parasite and The Quandry of Ethical Survival

     Ki-Woo (Choi Woo-Shik), has a plan to help his struggling family get out of poverty and the dirty, dingy semi-basement apartment they huddle together in. He plans to take over for his friend as an English tutor for tech company CEO Park Dong's (Lee Sun Kyun) daughter Da-Hye (Jung Ji-So). While there, he hatches a scheme to not only bring on his sister Ki-Jeong (Park So-Dam) as an art therapist for young Park Da-Song (Jung Hyoon-Jun), but his father Kim Ki-Taek (Song Kang-Ho) as Dong's personal driver and mother Chung-Sook (Jang Hye-Jin) as the housekeeper and maid of Dong's wife Choi Yo-Jeong. While the Kim family run their little collective hustle, events take a turn for the strange and things escalate to a shocking, brutal conclusion.

     Bong Joon-Ho's Parasite starts out as a kind of dark comedy, with a family on the brink of destitution while they struggle for work and are down on their luck. It's almost like the opening to Mickey And The Beanstalk with everyone huddled close together and trying to find something, anything to eat and get through the day. It'd be depressing if it weren't for the almost absurd ways they try to make money and keep their phones on through searching the house for a wi-fi signal and chasing away drunks who urinate near their window. So naturally, they'd jump at the chance at even the slightest hint of a better life when it's presented to them.

    It doesn't take long for this movie to remind me of Snowpiercer, Joon-Ho's 2013 drama about class warfare on a train rolling along a desolate planet Earth in a post apocalyptic future. The Kims, people of little opportunity and means try to climb up the ladder of success through any methods necessary. They hustle and manipulate to get some of the good fortune from those who have enjoyed an almost obscene amount of material wealth. The way they do this is ethically questionable at best, but such is the world they, and unfortunately we, live in where such methods become almost necessary to even make ends meet. The result of the cult of materialism and the bondage of modern capitalism.

    It's easy to see why this movie comes with this particular title. If anything it's pretty much on-the-nose. The Kims, in essence, feed off of the pay that the Parks give them for their work (unknowingly on the Parks's part) and then suddenly they realize that they aren't the only ones who've had this idea, or at the very least, aren't the only ones with problems dealing with their lot in life. Each family takes their turn privately looking down on the other, not recognizing the humanity in others, treating them as means to an end or as simple tools to use and discard on a whim.

     The film makes it a point to bring up young Da-Song's obsession with Native American (called Indian in the film) activities, culture and garb. Whether or not this is considered cultural appropriation is something that I am, admittedly, not educated enough to gauge, though I would say he seems particularly enamored with the watered-down "Americanized" version of it. It's entirely possible they consider it a phase of impressionable childhood fascination as one does. On the other hand, I think the inclusion of this character quirk is not just for "you little rascal" type shenanigans, but an explicit reminder of how anglo-centric cultures like majority white societies borrow or feed off of the cultures of others.

     Take the American settlers, for instance. Arriving on a land already settled by various Native American tribes. Little by little, they take and take and take until they begin to have this notion that what they have stolen was already theirs or that they deserve it more than those who have learned to balance their respect for nature with their need for consumption of food, shelter, etc; People do what they must to survive. Morality or even dignity often times don't factor into it. It simply is what it is. But it's when the bar for what constitutes "survival" raises higher and higher that one can question the morality behind the methods with any sort of authority. It's one thing for a poor man to steal a load of bread to avoid starvation. It's an entirely different thing for a billionaire to steal money from his own company for his own personal hoarding.

     Parasite doesn't try to make one family or group better than the other. All have their flaws and prejudices toward the other and engage in almost vicious condescension behind each other's backs. Park Dong constantly makes reference to Mr. Kim's raunchy stench, brought about by stink bugs introduced in the first scene. Mr .Kim repeatedly asks Mr. Park about loving his wife, to which the latter either blithely concedes or dismisses entirely.The characters constantly refer to Mrs. Park as "simple" and we get implications of Da-Hye having repeated affairs with her young English tutors. The Kims are benefiting off of the Park's wealth that Mr. Park has worked for. However, the disrespect the Parks have for Mr. Kim especially, weighs on Ki-Taek, as evidenced by multiple outbursts whenever his pride is wounded or he is insulted. He learns all too late that sometimes your dignity is the currency with which those who hire you want in trade.

     Envy and the feeling of want can drive people to unethical extremes and in our modern hyper-capitalist society that considers greed not just good but a necessity, it's its own parasitic nature that creates poverty for many, opportunities for few. Instead of trickling down like Regan promised in the 80's, capitalism, particularly for the top percentile of "job creators" and "billionaires" feeds itself like an economic ouroboros. It's a financial feedback loop that is unsustainable with prices ever swelling and less people being able to afford even basic needs. It's no wonder impoverished people turn to hustling or other less savory methods of making money simply to stay afloat. Those in need have little choice but to either take it for themselves or rely on the whims of those of means.

     We all have to consume to survive, whether it be food, resources for shelter and clothing, land, even simple pleasures. Some covet what others take for granted, and yet others squander abundance when spoiled for choice. Others think those who are without are the most free of all, unburdened by choice. There may truly be no such thing as ethical consumption under capitalism, especially today when the disparity between arbitrarily designated  "wage classes" is more severe than it has ever been.

But as the axiom goes, whatever helps you sleep at night.

The Lighthouse: All Work And No Play Makes Homer Something Something

The Lighthouse: All Work And No Pay Makes Homer Something Something

     Ephraim Winslow (Robert Pattinsion) takes a four weeks contract job with lighthouse wickie Thomas Wake (Willem Dafoe) at a New England lighthouse. During his time on the island, the young man is driven to the brink of madness by the repetition of his duties and the irritable company of Mr. Wake. Unfortunately, a storm delays the ferry that was meant to retrieve the two men, forcing them into a prolonged isolation that pushes them both over the edge. 

     If there's one thing you can give director Robert Eggers credit for, it's that he can make small period pieces look about as authentic as possible. The production value on this movie, as well as his previous film The VVitch, is astounding. The utensils, the weathered appearance of the cabin, the menial labor on display lend a particular verisimilitude to the experience. Eggers knows how to research a time period to give you as close to a clear picture as possible. The cinematography and film aspect ratio harkens back to older films, with the end credits calling the cast "players" which was a nice touch. It almost makes the film feel like a two-man play of sorts. 

     Speaking of, both Robert Pattinson and Willem Dafoe give terrific performances. Pattinson's Ephraim showing the weary, depressed, lonely mindscape of a young man running from past failures and Dafoe's Wake is a salty former sea captain who's so full of barnacles and bullshit that even Ephraim calls him out on his almost parodist portrayal. When the two men aren't drunkenly crooning sea chanties to each other and dancing like lunatics, they let out insults. One in particular delivered by Dafoe brings chills to the blood and cements his character firmly in the mind, regardless of his somewhat comical delivery and appearance. 

     The story starts out a bit slow, building its atmosphere with a patient hand, letting the audience figure things out through dialogue and context clues. On the first night, Ephraim finds a mermaid statue in the head of his cot. Hints at his backstory involving being a timberman or woodsman in Canada as he sees logs somehow floating on the ocean surface, giving way to the siren's call of a beautiful mermaid (played by Valeriia Karaman). It's also the first threads of the tapestry of his sanity fraying and becoming untangled. 

     From there it becomes a slog, both for Ephraim and for myself, watching him doing his repetitive duties day in, day out, with Wake barking orders in the young man's ear about shirking his responsibility. I'm not saying that it's boring, but it does convey the boredom Ephraim is suffering from, which works in the movie's favor. If I know anything, it's going to work day in and and day out and doing basically the same thing over and over with little deviation. And each day passes with Ephraim working diligently, though not without incident or complaint as when he insists he swabbed the floors. It's when the reality of his continued servitude and captivity sets in that things really pick up and take a turn for the insane. 

     It's never concrete on whether or not there's something supernatural afoot, even when Ephraim commits something of a bad luck faux pas for sailors. It could easily be chalked up to coincidence that the ferry coming to whisk them away was nowhere to be found and that's perfectly fitting with the downward spiral of Ephraim's mental state. Personally speaking, I think it's all in the unfortunate man's head. Fever dreams of a mind gone mad through the doldrums of duty. His only respite being the times he spends alone pleasuring himself or getting into nightly drunken encounters with Wake, the ever-demanding taskmaster, who throws in a sea-dog's version of a "damned millenial snowflake" speech near the end.

     The Lighthouse is an interesting watch if one doesn't mind the atmosphere of loneliness, depression and performative masculinity to the sacrifice of one's sense of self. The more head-tilting and visually distinct moments (such as when a person starts sprouting tentacles, is covered in barnacles with a crown made of coral or a mermaid with a human vagina for ease of "use") are momentary slaps of "WTF-ery" that punctuate a story of a man who just flat out took the wrong job and wasn't cut out for it, driving him bonkers.

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