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Both Harwood's and Fraiser's characters are clearly obsessed with this stranger, although the true nature of their interest remains a bit opaque. This is mainly because the sexuality they express feels primal, and their expressions of love to each other sit oddly alongside their constant abrasiveness. Opposite them, Koorzen adds intrigue as he observes the goings-on in this house, struggles with his injured leg and copes with some freaky nightmares. He also has physical and emotional connections with both the man and woman.

The stranger begins to realise that something else is going on here. "I feel you inside my head," he says to the man. And indeed all three characters seem to be aware of what's happening with each other even when they're not present. The way everyone is trapped in this place echoes in the film's exploration of gender roles and sexuality, so the stranger's desire to escape takes on a clever thematic angle. In the end, the allegory begins to feel a little pushy. And where it goes is downright chilling.

themes, language, violence, sexuality

22.Dec.20

Performances are so gritty and dark that many scenes have a terrifying documentary feel to them. Ryan, Matamua and Presling are excellent as Danny, bringing out layers of his personality as his sense of identity is powerfully challenged in each of the time periods. Other characters are less defined, although Tui, Jackson and especially Pome'e give Moses a sharp sense of self-assurance. And both Flynn and Parker find some unexpected textures as the equally hotheaded Liam.

As a depiction of the damage caused by toxic ideas of masculinity, the film is deeply involving, perhaps most intensely in Danny's teen years when he is forced into some momentous decisions. But the oppressively harsh atmosphere is somewhat draining, and there's never any doubt about the morality involved, making the movie feel like a kind of ramped-up after-school special on the dangers of joining a gang. At least it finds a glimmer of hope in the final act.

themes, language, violence

28.Dec.20

After the long set-up, the film finds its groove in the simmering scenes between Bedelia and Fumero as two women in an offbeat power struggle. Both actresses nicely underplay their roles, which makes their interaction strongly engaging. But while Fumero creates an effectively tormented victim, Bedelia's mentally unhinged captor isn't defined enough to be sympathetic. And David Fumero's even more crazed villain never has much more than one note to play, especially after he emerges wearing an eyepatch.

There's a loose thematic kick in the way these characters are trying to avoid living in their tortured pasts and move forward, although their pasts have other ideas. Meanwhile, the somewhat camp dialog is delivered with such a straight face that it feels unintentionally comical, almost turning the movie into a guilty pleasure. But while scenes feel fairly tense, there isn't much actual suspense, mainly because it's so difficult to care what happens. At least the big finale is elaborately bonkers on several levels.

themes, language, violence

5.Jan.21