Years after losing her daughter in a fire, a woman’s mental state takes a turn for the worse when she starts thinking that she is still alive. Have you ever started watching a film not knowing anything about it other than something, down the line, somewhere is going to really go sideways and you just don’t know what that is?
Well, Angel of Mine happens to be one of them. A constant agony of what Lizzie (Noomi Rapace) is gonna totally screw up to the highest degree. The success of the film relies on that and it does indeed achieve it. Part of the reason is because kids are involved and part of it is because adults like her are involved.
As the slow-burn escalates, while nothing really substantial happens, you won’t stop wondering how far is she gonna take it?! And then it’s the ending… but I’m gonna leave that up to you. My only comment is that Fatal Attraction (1987) was that successful because of that kind of escalation; that climax. Anyhow, congratulations to both Noomi Rapace and Yvonne Strahovski for their remarkable performances.
Over the years I have convinced myself that a film should not have a single mood from the beginning till the end. Angel of Mine is unsettling and dead creepy throughout. And even though that’s not a plus, the abyss of the human mind, the vastness of its capabilities, the infinite goodness, but also its unfathomable limits to cause pain in any shape or form can be terrifying.
A young couple and their two friends decide to fly to Sweden and visit an isolated community’s midsummer festival only to experience events they never expected they would.
Ari Aster knows how to portray death. He has mastered the art of perfectly shooting people die – one way or another – and then how to cut to either their beloved finding out or straight to their reaction after it happens. That said, I can see why the film critically and financially disappointed. Did I like it personally? Yes, I did. Would I recommend it? Before I answer with a ‘yes’ or ‘no’, I would ask myself ‘who would I recommend it to’? Horror fans are disappointed already – is there such a thing as mystery or drama fans? I’m not going to answer with a ‘yes’ or ‘no’ but I would hint the following:
The film is unnecessarily two and a half hours long and Aster promised (threatened?) that the director’s cut will be thirty minutes longer!!! For a horror film, the first duration is too long, and the second is tooooo long.
About an hour into the film and I wanted it to end and go on IMDb to find out if there is such a Swedish or Scandinavian paganistic/folklore festival. As much as this is a good sign, I couldn’t help but wonder that if there it’s shocking, but if there isn’t why on Earth would he go to such great lengths to elaborate/analyse/delve into something that doesn’t exist. Wondering that, I missed a third of the film and then wanted to cut to what the trailer had promised; some thrill.
As stated above, the deaths taking place in the film are definitely worth watching.
Now that you know, it’s up to you to realise if it’s going to float your boat or not.
The infamous computer hacker Lisbeth Salander teams up again with journalist Mikael Blomkvist but also NSA agent Ed Needham to take down cybercriminals and Stockholm’s worst called “The Spiders”.
When the trailer was initially released, the first comment was: “The film no one asked for…”. Sony, to secure the rights for the film, acquired the rights for the fourth book which was not written by the late Stieg Larsson. A direct sequel to “The Girl with the Dragon Tattoo” (2011), the film bypasses two books and here’s what happened to both character and story:
Salander here is not a victim anymore but a vigilante. If there was a batsuit anywhere you would be watching “Batgirl”. She knows how to fight and how to shoot, and race on a WRC level. She knows how to hack your phone, your computer, and your car from a Nokia 6110 while beating chess Grandmaster Garry Kasparov. She can find in time dozens of dildos and use them to turn an airport upside down to free an NSA agent that she doesn’t know where he is. What can I say? It makes me look my uselessness in the eye, and jump out of the window.
Story-wise, it gets better… Wanting to keep a low profile she steals a brand new Lamborghini. She deals with a computer program that makes absolutely no sense whatsoever. All clues are placed conveniently in plain sight where they can be found by anyone, yet no one finds them except the right person at the right time (it’s called gimmick). The villain doesn’t show any qualities to match Salander’s (superhuman) level. Other than she has suffered, we never find out anything about her capabilities other than she can put together and lead the toughest and remorseless criminals who wouldn’t hesitate to chop off your face.
Claire Foy is an extremely charismatic and diverse actress that does a brilliant job here. The story though and the character development don’t give her much to work with. If you are Lakeith Stanfield’s fan, watch “Sorry to Bother You” (2018). As for Fede Alvarez, I highly recommend “Evil Dead” (2013) and “Don’t Breath” (2016). Gory!