Director: Panos Cosmatos
Cast Headliners: Nicolas Cage, Andrea Riseborough, Linus Roache
Original Release Date: September 13th (limited), 2018
One shouldn't go into Mandy without both knowing what to expect within... and finding it potentially appealing. That applies to any movie but especially here. This is maxed out Nicolas Cage, surreal director Panos Cosmatos, neo-80s horror revenge mania. Mandy is a movie of extreme in all the best and at times disturbing ways. Yet through it all there's some genuine quality craft and heart within as well. It sure is something memorable.
It
is likely with purpose that the film's two halfs are in some ways
very distinct yet connected by being soaked in its stylized 1983
setting aesthetics. One part a slow trippy art burn and the other
part a crazy bloodpacked ride. It sometimes makes sense in how it
goes down . It makes the viewer go from saying “what the heck is
this” to “heck yes!!!” in due time.
In
what essence can be gained from (for what is actually a fairly
predictable and if not even just bit more than the right amount of
schlock of ) the plot a logger Red(Nicolas Cage) lives deep in the
Shadow Mountains of California with his girlfriend the titular Mandy
(Andrea Riseborough). Their mundane if even rugged lives are
interspersed with visions that are occasionally horrific or surreal
which are no doubt affected by their heavy metal and fantasy media
they surround themselves with (this movie is classically “metal”
as can be with even some small references here and there to other
stalwarts of similar genres).
They
soon find themselves dealing with a satanic cult of rednecks and
their demonoid friends led by Jeremiah Sand(Linus Roache). One might
infer that horror and mayhem follow , and it's not for the blood
averse. Although due to its surreal nature it's also... different, a
word describing so many aspects of what's taking place.
Performances
are not always a must of this horror / thriller / (sci-fi / fantasy?)
genre. However there's a couple decent things of note. Cage's Red is
him at some of his most gloriously “Cageness” as he's ever been.
He's hamming it up, he's being awesome, he's feeling pain and sorrow
in all the right ways as he goes through it all. It's not a script
with a lot of lines but he delivers on just the sheer fact of who he
is and the way he emotes and does action. It's nothing that's not
been totally undone before (Mr. Ash Williams would be proud) but it
decently works. Riseborough's Mandy says about the same things but
they have some melancholy moments together and does ok in her
nature in what occurs. Bill Duke also has a memorable bit part in
weapon seller Caruthers (and in a bit less regard Richard Brake as
The Chemist) offering some plot additions and lore. To rival Cage in
outlandishness is the almost reverend-like (yet still a hippie) cult
leader in Roache's Jeremiah. He's delusional , bizarre, and
threatening in ways one expects.
What
sticks with the viewer and what will haunt and delight them far
beyond the viewing of the experience are the things that make up
“experience”. The atmosphere, aesthetics, ambiance, mood are all
almost indescribable . They set things apart from similar genre
equivalents. It's a mash of “killers in the wilderness” with an
overwhelming 80s neon red and oranges and blacks look that's twisted
through the surreal lens of the director Cosmatos. Colors make shots
pop and terrify along with practical effects. The demons particularly
have some great costumes and props in thrilling brutal (if short)
action scenes. Lots of blood and liquids happening. There's also some
very unique animated pieces and painting-like skybox backgrounds.
Various other things add to the mix of frights, chuckles, and cheers
that end up occurring if one “gets it”. There's also some
interesting use of title cards and sequences in classic high form
film style.
One
should remember music when being “neon-80s” . Mandy delivers on
this outstandingly. The synth and metal soundtrack helps to immerse
greatly. Lush soundscapes range from pulse pounding to emotional or
relaxing. Surreal and terror states are both achieved. This is aided
by impeccable if at times unsettling sound design for both actions …
and conversations. It's one of the last scores composed by the late
Johan Johansson and his commendations are well deserved.
Nicolas
Cage is in a lot of truly bad and silly movies. There comes times
when he's in exactly the right kind of outlandish that turns out to
be almost a masterpiece. Mandy is on the upper tier of that due to
his involvement in the actions that occur around him. This is all set
in that lush audiovisual journey of darkness that makes it feel like
a classic and yet something on the cutting edge of the medium. If one
can handle its approach, a wild ride. 8.71 out of 10
