My Cousin Rachel (2017)

 

Written and Directed by: Roger Michell

Disclaimer: This review treats My Cousin Rachel as a standalone work. I acknowledge that this is an adaptation of a novel by an iconic writer, and recognize that this film’s overall merits cannot be weighed without considering the parameters set by the original text.  

My_Cousin_Rachel_(2017_film)

Based on a Daphne Du Maurier novel with (to my understanding) a slightly different plot structure, My Cousin Rachel is advertised as a work shrouded in mystery. Is it a period piece? A thriller? The film’s exploration of genre is perhaps its strongest point. Long running scenes of Victorian banter are occasionally interrupted with eerie-flashback-montages, and viewers are left wondering whether the dreary mansion where the film is set feels so dark simply because, well… its the Victorian era, or whether something more sinister is at play.

 

Just as the film’s genre is a mystery, the film’s story is a mystery. It follows Phillip, a 24 year old heir to a substantial fortune who finds himself living with Rachel, a cousin he has never met and who he suspects of, well…murder (I won’t say more). While the mystery of the film’s genre is a striking feature, one that adds a sinister energy to the film’s beautiful settings, the film’s mystery plot is underwhelming.

 

In a critique of Passengers (2016), youtuber Nerdwriter1 discussed one of that film’s weak-points by presenting its plot as a tree diagram, noting that once the film’s midpoint is reached there are only two possible outcomes for its (male) protagonist. Since both options are predictable, audiences are left under-engaged for a significant portion of Passengers’ run time. My Cousin Rachel has the same weakness, only it is far more exaggerated. The audience finds out mere minutes into the film that Rachel is suspected of a murder, and for the remainder of the film, the audience is left waiting for one of two possible outcomes: she dunnit or she didn’t.  Rachel’s personality is such that neither outcome would feel like a surprise. Her tender-vulnerability makes her being found innocent a highly foreseeable outcome, yet simultaneously, the audience knows they are seeing Rachel through Phillip’s naïve gaze, allowing for Rachel’s potential culpability to feel just as predictable as her potential innocence. This problem is further compounded by the film’s complete lack of a secondary plot: the question of Rachel’s guilt or innocence is all the film has to offer.

 

This is not to say My Cousin Rachel is dull or irredeemable. Rachel is both vulnerable and independent-minded, making her character engaging, even while her character’s story is not.film is worth checking out if you like to dabble in horror without risking nightmares and/or are eager to see a new work with a (well filmed) Victorian aesthetic.


 

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It Comes at Night (2017)

Written and Directed by: Trey Edward Shults

It_Comes_at_Night“Watch a Patriarchy Crumble in It Comes at Night,” proclaims Rich Juzwiak of Jezebel. Juzwiak’s summation of the film is not a bad one. It Comes at Night stars Joel Edgerton as Paul: a cold, strong father who will kill when he has to, and insists no one outside of his family can be trusted. Paul even runs his own family in a dictatorial fashion, a dynamic made particularly plain by the (unstated) possibility that he is the stepfather to the family’s comparatively gentle son Travis (Kelvin Harrison Jr.).

Yet while It Comes At Night undoubtedly depicts a patriarchal family, the film is arguably not so much about patriarchy or distrust as it is about inevitability. Vegetarians, vegans and animal lovers will notice this theme first, when Will (Christopher Abbot) offers Paul’s family food, and by food he means live chickens and goats (one supposedly played by Charlie (Black Phillip from The Witch). Perhaps some audience members will squirm at the sight of these animals, fearing they will be featured in a slaughter scene (don’t worry, there is none). Despite their squirming they will not be able to blame the humans of this film for having to find ways to eat in their desolate, post-apocalyptic living conditions.

In It Comes at Night, this sad-logic of the life of farm animals comes to effect the film’s humans. When Paul kills, as much as audiences may be repulsed by his comfort with his actions, they will not be able to dismiss him as a bad character. If what Paul, and to a lesser extent the other characters, says is true, he has no choice but to kill those who have been infected by “it” in order to protect his family. Nothing can persuade him to act differently, regardless of how conflicted he may feel internally. His violence is inevitable.

The true terror of It Comes at Night is thus not Paul’s brutality in itself, but the horrible thought that Paul’s killings may very well be justified. It’s one thing to endure the psychological pain that comes with fleeing a raging gun man—it quite another to have to both endure this pain and the pain of knowing the gunman is chasing you with justice running by his side.

It Comes at Night is a well-paced story with a good range of characters: many of whom are likeable, but all of whom remain somewhat shrouded in mystery. Viewers in search of a well told, discussion-provoking horror movie should check it out.