Not just as a character piece with pain and poignancy; also as a swirly, dystopian, ugly-beautiful landscape painting. Oakley shows how without the intoxicant of sunshine and holidays, you can see the everyday textures and surfaces more clearly, yet they are just as sensual.
It’s a rare misstep in an art-house movie that will pull mainstream audiences along as inexorably as the Mississippi River. Find out more Characters like Neckbone's uncle/guardian Galen (Michael Shannon) or Mud's parent figure/guardian, Tom (Sam Shepard), are given considerable screen time - yet their characters' relevance is periphery at best. Either way, the narrative disorientation is stylish. Created by Catalina Aguilar Mastretta, Samara Ibrahim, María López Castaño. Read full review Film critic and reporter covering movies and the people who make them. You need to be a subscriber to join the conversation. Read Movie and TV reviews from Peter Rainer on Rotten Tomatoes, where critics reviews are aggregated to tally a Certified Fresh, Fresh or Rotten Tomatometer score. Make Up review – wintry chills in a spooky seaside thriller 4 / 5 stars 4 out of 5 stars. ... even under a scraggly beard and mud-caked skin, to convincingly render spiritual agony.) 21 Nov, 2013 2:00pm .
Oakley shuffles the timeline so that later in the film we appear to flash back to this moment whose import was apparently suppressed at the time, or maybe we are witnessing the way Ruth has re-imagined.
Then the Guardian … The one friendly face is Jade (Stefanie Martini), whose hobby is makeup and hairstyling and who offers to give Ruth a makeover.Ruth is disturbed to see strands of bright red hair in the bed she shares with Tom, and the faint remains of a cupid’s-bow kiss on the mirror. Read our community guidelines in full The 2008 novel, scrupulously researched by Hillary Jordan, gives us two families – one white, one black – whose travails in Second World War-era Mississippi suggest an update on John Steinbeck’s The Grapes of Wrath, with some of the flavour of Faulkner, too.There is much on Rees’s mind that pertains to the USA of 2017, not just 1946, but she arranges her symbols with a rich sense of cinematic and literary tradition.
Manawatu Guardian; Kapiti News; ... Movie review: Mud . Top Critic. It’s a clever and expertly made movie; Oakley luxuriates in its winter chill.he out-of-season holiday resort, like the abandoned city or ruined temple, has something fascinating and even erotic in its emptiness. Guardian. The latest offers and discount codes from popular brands on Telegraph Voucher Codes The film… The recurring images in her Consider the opening line of Jordan’s book. Or is Ruth herself experiencing a spectral, psychosexual premonition of something in her own future?The idea of a ghost in the holiday resort is appropriate and yet a tautology. Go see it.
Ruth is reasonably content, although Kai (Theo Barklem-Biggs), the other lad working there minding the guard dog, is a nasty piece of work. The whole place at this time of year is a ghost, an uncanny wraith of its summer self. Is Tom having an affair?
Writer-director Claire Oakley taps into this mood for her debut feature, a psychological drama-thriller set in a wintry caravan park in St Ives, Cornwall. “Henry and I dug the hole seven feet deep.” And compare Faulkner’s As I Lay Dying: “Jewel and I come up from the field, following the path in single file.” The very specific device Jordan borrows is multiple narrators – six, to Faulkner’s seven – who take turns to describe the story’s events.Rees’s script, co-written with Virgil Williams, ports this polyphony of voices through with sections of voiceover for the principal cast, a riskily diffuse tactic on screen that even such directors as Martin Scorsese (in Casino) and Terrence Malick (lately) have struggled to make work.
One of her best sequences is a bad dream that Ruth has, which is simply a static shot of some marram grass on the beach, which over five or 10 seconds turns from green to reddish brown, as if being poisoned. As legend has it, the first Guardian of the Sun threw a harpoon into the cosmos and roped the sun to bring light and warmth to all of humanity. Is this place haunted?
3 minutes to read . The Telegraph values your comments but kindly requests all posts are on topic, constructive and respectful. The film grows and grows. And yet Oakley doesn’t let us forget about the sheer beauty of the place, with golden-hour sunsets across the bay.Ruth cannot swim and is afraid of the sea (Oakley lets us absorb the symbolic possibilities of this phobia), but she listens impassively to Shirley’s gnomic advice that the water is a great healer and cured her of her own fear of dogs – a promise that is a little disconcerting, given the ugly hostility of Kai and his alsatian. But then why can she see this same kiss-shape mysteriously appearing at night on the windows of caravans that are supposed to be empty – caravans that have been hygienically sealed in polyurethane wrapping for the winter – like a ghostly ectoplasm? It’s all leading to the moment when Ruth goes for a shower in the shared facilities and hears noises coming from an adjacent stall. Violetta is bored with her life in Mexico and runs away to New York with a bag full of money. Her film resorts to jolting cuts from the sodden brown cotton fields to the bloodshed over Europe, as we take in the tours of Jamie and Ronsel in a too-abbreviated, merely illustrative way.We rely on advertising to help fund our award-winning journalism.We urge you to turn off your ad blocker for The Telegraph website so that you can continue to access our quality content in the future. MIDWAY centers on the Battle of Midway, a clash between the American fleet and the Imperial Japanese Navy which marked a pivotal turning point in the Pacific Theater during WWII. A teenager encounters ghostly goings-on and sexual intrigue at an out-of-season caravan park in a stylish psychological dramaMolly Windsor (whom I last saw 10 years ago as a child actor in Samantha Morton’s Manager Shirley (Lisa Palfrey) takes her on, and allows Ruth and Tom to stay in one of the static caravans, with much lascivious giggling about how the last couple to occupy it ended up having a baby. Mudbound’s brutal climax is a shock and an affront in all the ways it must be – and though the film is a little wobbly up front, it’s fully worth wading through.