Review #1,392: 'American Animals' (2018)

For decades the movies have taught us how the perfect heist goes down. You need a group of big personalities - all experts in a required field - an intricate plan, blueprints to map out the target, and the best gadgets a cheeky crook can buy. And of course, you need a handsome, charismatic leader, usually in the form of a Frank Sinatra, George Clooney or Sandra Bullock. Yes, a director such as Steven Soderbergh knows how to deliver a robbery with style, panache and a sense of fun, but the real world operates a little differently. American Animals, based on the theft of some rare and valuable books from the Transylvania University library by four kids who seemingly had no reason to dare such a feat, has great fun combining these two worlds. Director Bart Layton, who warmed up with 2012's true crime documentary The Imposter, relays this tale as both documentary and dramatic reconstruction, like Touching the Void but with more interaction between the actors and real-life subjects.

It sounds like "look at me" film-making, and it arguably is, but the film is stitched together so wonderfully that you can only sit back and admire the swagger of it all. The world Layton captures is incredibly dark indeed, one of degrading fraternity initiation ceremonies and endless supermarkets isles lined with colourful food packaging designed to create the illusion of choice. At least, that's how our two protagonists - anti-heroes may be the more suitable term - see it. Spencer Reinhard (Barry Keoghan) is a talented art student who feels like there must be more to life than this. His best friend Warren Lipka (Evan Peters), the joint-smoking loudmouth who is up for anything, feels very much the same, only he's way more angry about it. During a routine tour of the University library, Spencer learns that the lightly-guarded building houses the valuable The Birds of America by John James Aubudon, and only a nice old lady is there to watch over it. Stealing it should be easy, so Spencer confides in Warren, who quickly takes the lead in planning and executing the audacious heist.

There's a wonderful moment during American Animals where the foursome (Jared Abrahamson's Eric Borsuk and Blake Jenner's Chas Allen are also drafted later on) imagine their plan playing out. It's like ballet, with every cabinet opening with ease and every book gathered up falling gently into their bags. And of course, they're all wearing tuxedos. Earlier on we see Spencer and Warren doing research, only people don't write books about the perfect robberies they've carried out, so they're left with movies. The likes of Rififii, The Killing and Reservoir Dogs are their textbooks, so it's no surprise when they're caught off-guard when the reality of the situation smacks them in the face. The biggest obstacle is the nice old lady, Betty Jean Gooch (the always-great Ann Dowd), who they imagine will fall gracefully into an unconscious state after a zap from a taser. In reality, she kicked, screamed and wet herself, but the boys carried on with their plan anyway. With the real Spencer, Warren, Eric and Chas telling their own stories to camera, American Animals could have run the risk of softening or even glamorising this story, but Layton is careful to point out the consequences, and the rippling effect it had on everybody caught up in it. It's an astonishing piece of work that ramps up the tension to unbearable levels, crafted by a film-maker keen to breathe new life into a well-worn genre.


Directed by: Bart Layton
Starring: Evan Peters, Barry Keoghan, Jared Abrahamson, Blake Jenner, Ann Dowd, Udo Kier
Country: UK/USA

Rating: ****

Tom Gillespie

Review #1,296: 'The Killing of a Sacred Deer' (2017)

The films of Greek filmmaker Yorgos Lanthimos are polarising to say the least, deliberately tailored to the art-house crowd seeking something new and potentially shocking, but rarely sitting well with general audiences. Both Dogtooth and The Lobster were difficult movies to watch for many different reasons, yet what makes Lanthimos so interesting is the skill in which he makes an audience feel uneasy. His latest, The Killing of a Sacred Deer, is his most troubling picture yet, and I mean that in a good way. For the first hour of the film Lanthimos allows us to gaze through the windows of a seemingly happy middle-class family, before peeling back the layers to reveal the dysfunction beneath. Think a touch of Cronenberg, a hint of Bunuel, and a large dollop of Haneke, and your somewhere in the right area.

Highly-skilled surgeon Steven Murphy (Colin Farrell) has battled through alcoholism to maintain a position of respect and authority at the hospital he works. He is happily married to Anna (Nicole Kidman), and enjoys spending time with children Bob (Sunny Suljic) and his teenage daughter Kim (Raffey Cassidy). The impressively-bearded Steven also maintains a relationship with a confident young man named Martin (Barry Keoghan), walking and talking by the lake, and meeting in a diner to eat together. If it was anyone other than the subtly unnerving Martin, it would be easy to interpret their first scene together as some kind of strange first date, but it's clear they share some history together. Out of nowhere, Bob suddenly loses feeling in his legs, leaving both his father and specialists baffled at the mysterious condition. As Bob declines in health, Martin grows in confidence, dating Kim in secret and turning up unannounced at the hospital to see Steven on a daily basis.

To say any more would spoil the 'joy' to be had with The Killing of a Sacred Deer, as you spend the first half of the film out of the loop and likely expecting Steven and Martin's relationship to be revealed as sexual. Lanthimos takes his time to provide answers, carefully guiding you into the blood-drained Murphy household and taking you on long walks via Steadicam down endless, cold-white hospital corridors, before unleashing a revelation that will take Steven to the brink. Not all the big questions are answered however, and Lanthimos makes sure they don't need to be. As the mystery illness worsens and others start to show similar symptoms, the film keeps the focus on the central conflict between the handsome, successful doctor and the quietly menacing teen. Farrell continues to impress as he moves away from the pretty-boy roles that dogged his early career, but Keoghan, last seen in Dunkirk earlier this year, steals the film as the delicately threatening Martin. He's rarely anything less than pleasant, but there's just something not quite right, and Keoghan underplays the role to perfection. It's a touch overlong, and a sexual encounter in a car feels unnecessary, but Lanthimos is only fine-tuning his craft, and it feels like his masterpiece is only around the corner.


Directed by: Yorgos Lanthimos
Starring: Colin Farrell, Barry Keoghan, Nicole Kidman, Raffey Cassidy, Sunny Suljic, Bill Camp, Alicia Silverstone
Country: UK/Ireland/USA

Rating: ****

Tom Gillespie