A period horror film and a Lynchian nightmare
No matter where you go, the universe is a total jerk.
Guy Maddin's latest (in collaboration with Evan Johnson) often feels like an adaptation of a big book of Freudian dream interpretations.
A worthy effort which much to recommend it but little to actually love about it.
An art-horror film steeped in dream imagery that usually doesn't fall too far down its own rabbit-hole.
A weird, heavily symbolic "queer thriller" with a scene-stealing, raving and drooling lunatic at the center.
The film's writer/director/star clearly intends the story to work on several levels, but I couldn't shake the feeling something was getting scrambled between his brain and my own.
A bold, unique, singular, visionary work about terrible people I didn't engage with doing terrible things I didn't care about.
Enemy is one hell of a cinematic puzzle, offering much viewers who like combing a movie for clues to what's actually going on. On the other hand, I found I didn't care much about the characters or the story.
When you watch a Ben Wheatley film, you know you're going to get something a little different. Or, in the case of A Field in England, a lot different. Maybe too different.