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The Beast (2023) – Movie Review

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The Beast (2023) – Movie Review

The Beast, 2023.

Directed by Bertrand Bonello.
Starring Léa Seydoux, George MacKay, Kester Lovelace, Julia Faure, Guslagie Malanda, Dasha Nekrasova, Martin Scali, Elina Löwensohn, Marta Hoskins, Félicien Pinot, Laurent Lacotte, and Xavier Dolan.

SYNOPSIS:

The plot is set partly in a near future in which artificial intelligence is in control of everyone’s lives and human emotions are perceived as a threat.

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An ambitious story of tragic and toxic love sprawled across the past, rearview window present,  and near future, Bertrand Bonello’s The Beast wonders what it would be like if, in one of those three timelines, a well-intentioned man in one of them was also a raging misogynist making deeply disturbing YouTube videos promoting a violent cleansing coming by his hand as retaliation for women having always rejected his advances. This is a love story that is also anything but a love story, which is part of what makes it so compelling.

It certainly makes for a deeply uncomfortable moment when, roughly halfway into the film, present-day Gabrielle Monnier (Léa Seydoux impressively pulling off three variations of the same character, layering them all with a wide range of emotions and one haunting final shot that sticks in the mind sonically and visually) meets that man, Louis Lewanski (George MacKay, also terrific pulling off polar opposite depictions of this character and, at times, scarily finding a bit of humanity in the deranged variant), feeling that unexplainable gravitational connection, urging him to walk her home after a California earthquake. Louis repeatedly declines, insisting that something bad might happen, signifying that his hatred towards women comes less from the way they treat him and is more about his deep-sea-level fears and insecurities. 

While that dynamic does make for some traditional thrills, perhaps the real horror comes from a psychological place that, for anyone fascinated by stories about reincarnation or love across different timelines, there could be an utterly psychotic version of all of us out there. Or that we could be longing for someone so unhinged without knowing it. However, the film is, and rightfully so, much more concerned with Gabrielle’s emotional and physical journey returning to those past timelines as part of an AI-mandated process in the future to eliminate feelings from humans to make them “less dangerous” and more fit for a barebones workforce.  

This Eternal Sunshine of the Spotless Mind reminiscent procedure takes Gabrielle to early twentieth-century France, where she is in a loveless marriage to the wealthy Georges (Martin Scali), encountering Louis at a glamorous party who is taken aback by her, vowing to protect her after she speaks of this inexplicable connection and an intense feeling that something disastrous is eventually going to happen. They remain in contact, and he is interested in her and her fascination with crafting dolls (a recurring motif across the film.) It is also worth mentioning that, yes, George MacKay and Léa Seydoux speak English and French in the respective timelines, only adding to the commitment and depth of these tremendous performances. Essentially, he is her savior in one life and her worst nightmare in the next; it’s a loaded juxtaposition that the filmmakers don’t waste.

There is also an experimental visual style that plays with pixel distortion and the nature of filmmaking, chiming in on how green screen and AI remove realism. The script (written by Bertrand Bonello, Guillaume Bréaud, and Benjamin Charbit, loosely based on aspects of the Henry James novel The Beast in the Jungle) brilliantly brings some of these conversations back into a portion of the grand, mind-shattering finale, sharply making that point. Without giving away, the ending sequence is a variation of one earlier scene that brings forth immense dread not only because of what is happening but also on a metatextual level in the filmmaking process. 

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The Beast is primarily split into two halves, with each containing stops in the future world, which is also fleshed out as a numbing existence overrun by technology and aesthetically detailed nostalgia nightclubs, which does work, especially if one has no idea about the second half-wild direction for George MacKay’s character. However, most viewers might already know about that going in (it’s not worth writing around in a review to be vague about what gives the film such unnerving depth) and become somewhat restless during the slower first half.

The Beast grows on the viewer as it gradually reveals more information and ideas, which is a lot considering the 146-minute running time. Nevertheless, there is love and danger here, packaged together in one cruel, psychologically torturous package. It is sweet and hellish, yet also clued into a depressing future informing its characters and ideas. 

Flickering Myth Rating – Film: ★ ★ ★ ★ / Movie: ★ ★ ★ ★

Robert Kojder is a member of the Chicago Film Critics Association and the Critics Choice Association. He is also the Flickering Myth Reviews Editor. Check here for new reviews, follow my Twitter or Letterboxd, or email me at MetalGearSolid719@gmail.com

https://www.youtube.com/watch?v=embed/playlist

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UNTIL DAWN Review

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UNTIL DAWN Review
UNTIL DAWN is a horror movie based on a video game about a group of friends who find themselves trapped in a time loop, reliving the same night repeatedly with increasingly terrifying, fatal threats. One year after her sister Melanie vanished without a trace, Clover and her friends look to find more information about her disappearance. Clues lead them to an abandoned mining town implied to be in Pennsylvania. This place of unimaginable horrors traps them all in a horrifying time loop where they’re murdered again and again. They must work together to survive without losing themselves in the never-ending time loop of gruesome murder.

UNTIL DAWN is nicely shot and paced well, with believable performances. However, the movie has a strong humanist worldview featuring gruesome violence, lots of strong foul language, and excessive gore. The violence includes psychopathic killers, people spontaneously exploding, stabbings, kidnapping, demonic possession, and more. The frequent dying over and over in the plot of UNTIL DAWN puts the sanctity of life into question. It forces the characters to conduct abhorrent and unacceptable immoral actions for survival.

(HH, Pa, C, O, Ho, LLL, VVV, S, M):

Dominant Worldview and Other Worldview Content/Elements:

Strong humanist worldview that twists the concept of modern psychology into a supernatural hellscape with unexplained time loops and reoccurring nightmarish horror filled with excessive violence and gore, but with unexplained pagan supernatural elements (such as a storm circling a house, the appearance of more buildings, the time loop itself, and many more), the time loop perverts the laws of mortality and implies that the consequences of violence, murder, suicide, etc., don’t apply, the psychologist controlling the time loop discusses the situation with modern psychology in vague circles meant to confuse and disorient the nature of the reality in which the victims are trapped, religion or God is not explicitly discussed, but there’s an unexplained cross in front of a house that isn’t explained and a character references the belief that a possessed person cannot become possessed through contact but rather weakness of faith, and some occult content where one woman is a self-described psychic and is into “woo-woo” stuff as another character describes it, she tries to amplify her psychic abilities with help from the others by holding hands and meditation, and she often has strong feelings and seems to have a sense the others do not have, but no worship or symbols are shown, plus a girl dating a guy is said to have previously dated a girl as well as other men;

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Foul Language:

At least 101 obscenities (including 62 “f” words), two strong profanities mentioning the name of Jesus, and four light profanities;

Violence:

Very severe violence and gratuitous blood and gore throughout including but not limited to dead bodies, monsters, scarred masked psychopath, stabbing, beating, and people spontaneously exploding;

Sex:

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No sex shown, but a person puts on a VHS tape and a pornographic movie is heard playing briefly but not shown, and a woman is said to date a lot of people and one time dated another woman;

Nudity:

No nudity;

Alcohol Use:

No alcohol use;

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Smoking and/or Drug Use and Abuse:

No smoking or drugs; and,

Miscellaneous Immorality:

A psychologist is a callous antagonist whose motives are relatively unknown beyond having a morbid curiosity that led to awful experiments and playing games with other people, he purposely keeps people trapped for no known reason other than his sick and twisted observations that end in gruesome murder and unnecessary torture.

UNTIL DAWN is a horror movie based on a video game about a group of friends who find themselves trapped in a time loop, reliving the same night repeatedly with increasingly terrifying, fatal threats.
Advertisement

One year after her sister Melanie vanished without a trace, Clover and her friends look to find more information about her disappearance. Clues lead them to an abandoned mining town. This place of unimaginable horrors traps them all in a horrifying time loop where they will be murdered again and again.

UNTIL DAWN is nicely shot and paced well, with believable performances, but it has a strong humanist worldview overall with some occult elements is filled with gruesome violence, gore, lots of strong foul language, and a time loop that leads to an increasing amount of horrific murder and unacceptable immoral actions for survival.

The movie begins with a woman named Melanie clawing her way through the dirt with an unknown monster chasing after her. Digging her way out, she looks up to a masked psychopath standing over her with a scythe. She begs him, “No! Please not again. I can’t!” He fatally stabs her without a thought. It cuts to the main title, and an hourglass is shown with a ticking clock sound and unsettling music.

Cut to a group pf people in a red car driving up a winding mountain, an obvious nod to THE SHINING. It’s been one year after Clover’s sister Melanie vanished without a trace. The group consists of Max, Nina, Megan, Abe, and Clover. Shortly after their mother died, Melanie had decided to start a new life in New York. Clover decided to stay, which created tension between the sisters before Melanie left.

Clover and her friends are looking for more information about her disappearance. Their last stop is the last place she was seen in a video message taken in front of a middle-of-nowhere gas station. Megan, a proclaimed psychic, wants to join hands outside and see if they can feel any mystical energy regarding Melanie. Their attempt is cut short when an RV blares its horn and almost hits them, scaring them all.

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Clover goes inside the gas station for a cup of coffee while the others talk outside. Clover asks the man behind the register if he worked here last year. After confirming he’s been working there for years, she shows him a picture of Melanie from the video. He asks if she was missing and clarifies saying that Clover is not the first to come asking. When she asks if many people around here go missing, he says people “get in trouble” in Glore Valley. As their only lead, the group decides to go there and stick together.

Nervously driving to the valley in an increasingly dangerous storm, the group begins to question what they are doing. Suddenly the storm stops but is still raging behind them. They park in front of a house with a “Welcome Center” sign, with the storm circling around the area but leaving the house dry. Confused, they get out of the car and look around. Nina decides to see if there’s anyone inside so they can come up with a plan. Everyone goes in except Clover, who walks up to the strange rain wall.

Inside the house, they find a dated and dusty interior. The power and water don’t work, and they conclude that they are the first people to come there in years. There is a strange hourglass with a skull on the wall. Checking the guest book, Nina finds Melanie’s name signed multiple times, with increasingly shaky handwriting. In another room, Abe finds many missing posters with faces on a bulletin board and finds poster with Melanie’s face.

Outside, Clover thinks she sees a person in the rain. She also hears Melanie’s voice and runs after it. Concerned, Max calls after her and he pulls her back in. As Nina signs the guestbook, the sun suddenly sets and the clock starts ticking.

Inside the house now with the hourglass turned over, they try to understand what’s happening. The car is out in the rain now with someone revving the engine threateningly. Some of them go to the dark basement, where the lights don’t work. There is an eerie sense of dread as Abe goes to check out a noise, and Nina finds a scarred and masked psychopath standing in a room as the top half of Abe’s body falls to the ground.

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Hearing the commotion upstairs, the others go to see what happened and Max spots the killer. They run to hide, and the apparently invincible psychopath horrifically stabs each of them as they try to fight back. The sand in the hourglass runs back, as each character returns to where they were when Nina originally signed the book (she now signs it a second time). They remember what had just taken place, and how they were all murdered. Clearly stuck in this time loop escape room situation, they will now have to figure out how to escape this terrifying hellscape as the situations get worse with every loop.

UNTIL DAWN is nicely shot and paced well, with believable performances. However, the movie has a strong humanist worldview featuring gruesome violence, lots of strong foul language, and excessive gore. The violence includes psychopathic killers, people spontaneously exploding, stabbings, kidnapping, demonic possession, and more. The frequent dying over and over in the plot puts the sanctity of life into question. It forces the characters to conduct abhorrent and unacceptable immoral actions for survival.

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Movie Review – SHAKA: A STORY OF ALOHA

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Movie Review – SHAKA: A STORY OF ALOHA
SHAKA: A STORY OF ALOHA is shared with the audience by investigator Steve Sue in a calm and charming manner, but this documentary tells a powerful, positive and fascinating story. The “hang loose” thumb, pinky sign that originated in Hawaii and carries many meanings is the focus of this film. I just learned this gesture is called a “Shaka” and has a worldwide impact.  And, there are Shaka Contests.  Who knew? And how do you throw a Shaka? For me, […]
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