Mandy Review

Mandy
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