Fantastic Fest 2011: Day 3 Recap

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“We Need to Talk About Kevin”
Lynn Ramsey
Genre: Drama
Grade: A
In theaters Dec. 2011
 
It’s not often that a real Oscar contender plays at Fantastic Fest, but “We Need to Talk About Kevin” is exactly that, and if isn’t, it sure as hell should be. Director Lynne Ramsey’s challenging gut punch of a film plays almost like a dream for its first half, freely floating through Eva’s (Tilda Swinton) experiences with her son Kevin (Ezra Miller). Something of a free spirit, Eva settles down to start a family with Franklin (John C. Reilly), but hits an unexpected road bump once Kevin is born and she realizes that her son is a malicious, sociopathic little monster.
 
The film’s opening moments are bathed in red, from the curtains in Eva’s rundown home to the seats at her office to the blood that runs down her face after she’s slapped for reasons the film makes the audience wait to find out. “We Need to Talk About Kevin” takes its time arriving at its disturbing climax, and paints a detailed picture of Kevin’s life, with clever edits bridging various moments, all of them underscoring Kevin’s ruthless manipulation of his parents, even as a prepubescent child.
 
Tilda Swinton gives perhaps the best performance yet of Fantastic Fest, playing a mother torn between her biological duty to her son and her gut instinct to get far, far away from this abomination she’s created with expert restraint and fear. Swinton deserves endless accolades for her work here, and co-stars John C. Reilly and Ezra Miller both rise admirably to her challenge.
 
“We Need to Talk About Kevin” is a very hard film to shake, and goes to some very dark places in smart, restrained ways, making its unsettling material feel plausible and terrifying rather than exploitative.
 
“The Devil’s Business”
Sean Hogan
Genre: Horror
Grade: B+
Screens Sept. 28 at 3:15 p.m.
 
Sean Hogan, writer and director of “The Devil’s Business,” came to Austin with horror anthology “Little Deaths” earlier this year during SXSW. His segment of “Little Deaths,” which depicted a young couple kidnapping a homeless girl before she reveals herself to be something much more dangerous than they expected, was the best of the film, a scary, stomach-churning short story that parceled out its revelations in very deliberate and intelligent ways. “The Devil’s Business” is very much in the same vein, a hitman drama starring Jack Gordon as Cully, a first-time assassin uncertain about his career choice and Billy Clarke as Pinner, a veteran sent along to make sure he doesn’t bundle the hit.
 
Over its brisk 75-minute runtime, “The Devil’s Business” lets us get to know Cully and Pinner, and their interplay in the film’s opening scenes is funny and well-written, especially a lengthy, hypnotizing monologue Pinner delivers early in the film. Cully’s nervousness only increases once they find a Satanic sacrifice in a shed in their target’s backyard, and the job spirals into oblivion from there.
 
At its heart, “The Devil’s Business” is a long series of conversations, doling out nice doses of philosophy about the morality of killing and the meaning of life amongst its hard-boiled dialogue and clever turns of phrase. Like Hogan’s segment in “Little Deaths,” the film is smart in how it reveals its various twists and turns, and Hogan’s direction is understated and confident, scary when it needs to be and restrained at all the right moments.
 
“The Devil’s Business” is a fun distraction, a short trifle in a long day of films, but it’s also a well-observed character piece with an entertaining supernatural bent. It’s by no means the best film at Fantastic Fest, but it’s certainly worth a viewing.
 
You’re Next
Director: Adam Wingard
Genre: Horror
Grade: A
No additional screenings
 
Fresh out of its premiere at the Toronto International Film Fest, “You’re Next” played to a rapturous crowd last night at Fantastic Fest. The home invasion genre has always been rather commonplace at the festival, and director Adam Wingard was at the fest last year with “A Horrible Way To Die,” which won well-deserved awards.
 
“You’re Next” opens with a bitter little tease, killing off a couple living in an remote estate before moving onto the main attraction, a family reunion stocked with a who’s who of modern indie horror. The cast includes the likes of AJ Bowen, Amy Seimetz, Ti West (whose “The Innkeepers” is also playing the festival), Joe Swanberg, and legendary horror icon Barbara Crampton.
 
Bowen’s Crispian warns his girlfriend Erin (Sharni Vinson) that tensions often flare up when his family gets together, and just as tempers are starting to boil over at the dinner table, an arrow crashes through the window and the family starts shedding members with startling quickness.
 
“You’re Next” moves very quickly and kills off its characters even quicker (and in fairly unpredictable order). While a few of its characters act too stupidly to be human beings, “You’re Next” is mostly intelligently written, with a real eye for subverting the audience’s expectations. When one of the guests makes it clear they have no intention of rolling over and dying, the film moves onto the next level, doling out satisfying kills and plot twists at perfect intervals.
 
Director Adam Wingard juggles a lot of balls with obvious ease. Even amidst the brutality and bloodshed, the film manages to work in a few pitch-black punchlines, and Wingard makes the shifts in tone work very well. He also gives almost every member of the ensemble a great moment, but the film’s clear star is Sharni Vinson’s Erin, a smart twist on the traditional horror film’s protagonist and a noteworthy, thoroughly badass character that earned lots of cheers from last’s night audience. Although the film ends on a bitter, unearned note, 30 false seconds in an otherwise near-impeccable film is not nearly enough to derail things.
 
“You’re Next” probably won’t be in theaters for a year or so, and it’s a real shame. The film is legitimately scary, plays out in unexpected ways, and never cheats the audience, which puts it above most American horror films of the year instantly, and makes it the best film of Fantastic Fest thus far.