Mandy

Ok so I first watched this not sure what it was about but I was hopeful of some good old meme quality Nic Cage Rage scenes at the very least. After it finished I sat there thinking WTF and I had to go make a cup of tea and seriously think about some of my life decisions.

Once that was done I came on imdb to find out more about the film and to frankly rant a little. After spending a good half hour reading a lot of very mixed reviews I decided to leave it and watch the film again another day. Which I just have.

It's not my cup of tea. I think the majority of people will hate this film purely because it's not what they are used too, and they just don't get it. Yes ok sympathise with the haters the film is a very simple revenge plot, there's not much dialogue, it's filmed mostly in red and it can drag on in places and many will turn it off before it gets half way.... Which is a shame as this film left me with a similar 'wtf did I just watch' feeling that reminds me of the first time I watched 'Eraserhead.'

'Mandy' is very much an arthouse film with a dose of 80's grindhouse thrown in and if that's the kinda film you like you will love this film. Nic Cage is brilliant in it, and yes he has those rage moments, the violence is swift and brutal, there's even a chainsaw fight. It's surreal, the atmosphere and music blends perfectly with the madness and drug induced hysteria and anger the film is trying to portray in its own arthouse style and I genuinely think this will turn out to be a cult classic.

So yep, not for everyone, but at least try and appreciate it for what it is. 8/10.

Parents take note! This is not your typical Nicolas Cage film. Although it starts off slowly with some character development, it is quickly thrust into a deep, dark, hallucinogenic, and very disturbing vehicle into raging madness and revenge. This film is not for the faint of heart!

Some of the characters are a bit difficult to understand, so it helps to turn subtitles on.

There is heavy use of color throughout which is reminiscent of many horror and slasher films from the 1970s and 1980s. Strobing and hallucinogenic effects are present periodically.

Despite the seriousness of the latter half of the film, small elements of campy humor are present where they are least expected.

This film is definitely over the top, but is one of those films which must be watched to the end to see what happens next.

Equal parts psychotropic horror and grindhouse revenge thriller, Mandy is what you might get if David Lynch, Stanley Kubrick, and Andrei Tarkovsky teamed up to remake Death Wish (1974) in the style of a Giallo. The second feature from director and co-writer Panos Cosmatos, after the interesting, but not entirely convincing Beyond the Black Rainbow (2010), Mandy is a psychedelic experience in pretty much every way, and as midnight-y as a midnight B-movie could possibly be. And although it would be impossible to recommend to everyone, there is an undeniable brilliance here. An insane brilliance. But a brilliance none-the-less. Although it could (somewhat legitimately) be accused of too much style and not enough substance, Cosmatos pitch-perfectly mixes an expressionist aesthetic with horror tropes, a generic revenge narrative, and comedy beats. But let's face it, the reason most people will see the film is for Nicolas Cage, and in that sense, Mandy joins the ranks of films such as Vampire's Kiss (1988), The Bad Lieutenant: Port of Call - New Orleans (2009), and Mom and Dad (2017) in giving Cage an organic, narratively justified reason to go full-Cage, digging deep into his reservoir of utter insanity. And that's never a bad thing.

Set in "1983 A.D.", the film tells the story of Red Miller (Cage), and his girlfriend, aspiring fantasy artist Mandy Bloom (Andrea Riseborough), who live a simple secluded life in the Shadow Mountains, in a cabin on the banks of Crystal Lake. Hugely supportive of one another, it's hinted that Red may have been an alcoholic and/or drug addict in his youth, whilst Mandy has a significant facial scar, possibly the result of a troubled childhood, which she alludes to from time to time. All is calm in their life until Mandy is spotted by the Children of the New Dawn, a religious cult led by failed folk singer Jeremiah Sand (Linus Roache). Taken with Mandy's beauty, Sand tells his right-hand-man, Brother Swan (Ned Dennehy), that he wants Mandy, saying "you know what to do." Using the "Horn of Abraxas", Swan summons the Black Skulls, a trio of demonic bikers addicted to a highly potent form of LSD, and along with the Skulls, the Children invade Red and Mandy's cabin, tying Red up in barbed wire outside, and leaving him for dead. Meanwhile, two female Children, Mother Marlene (Olwen Fouéré) and Sister Lucy (Line Pillet), drug Mandy with LSD and venom from a giant wasp, before presenting her to Sand. Singing his own song, "Amulet of the Weeping Maze", Sand attempts to seduce Mandy, but things quickly go awry when he proves unable to get an erection. Unbeknownst to the Children, however, Red has survived and set out in pursuit of both the cult and the Skulls.

One of the things that will jump out at you as you watch Mandy is that Cosmatos packs the narrative with an extraordinary amount of cultural references, some oblique, others more obvious. Prior to hearing any dialogue, there is an audio extract of President Ronald Reagan speaking about how the vast majority of Americans are disgusted by porn. Mandy's art is not dissimilar to the work of Roger Dean, whilst the film's animated sections (of which there are several) recall the kind of material found in Heavy Metal. Indeed, the general aesthetic of the film is equal parts Bat Out of Hell and Iron Maiden. The Children of the New Dawn cult is obviously inspired by the Peoples Temple of the Disciples of Christ and the Manson Family, with Sand himself part Jim Jones, part Charles Manson, and part Dan Fogelberg. The home invasion scene bears more than a passing resemblance to similar such scenes in The Last House on the Left (1972) and Henry: Portrait of a Serial Killer (1986), whilst the revenge narrative has something of the original Mad Max (1979) about it. The film also recalls Valhalla Rising (2009) in places. Sand's "Amulet of the Weeping Maze" is inspired by the work of The Carpenters (which he admits himself). Red is seen wearing a Mötley Crüe t-shirt, and tells an awesome Erik Estrada/CHiPs (1977) joke. During a discussion about which planet is their favourite, Mandy selects Jupiter, but Red argues for Galactus. The Black Skulls are obviously inspired by the Cenobites from Hellraiser (1987). The Children's A-frame chapel resembles the church in There Will Be Blood (2007). This is as culturally-literate a film as you're likely to see all year, and as much as the narrative exists in a kind of shattered-mirror version of reality, these references do help ground it, even if many of them are purposely anachronistic.

Mandy gets off to a cracking start by using the old Universal logo, complete with scratches and dirt on the celluloid. It follows that up with the most pseudo-John Carpenter 80s music imaginable, composed by Jóhann Jóhannsson, in one of his last compositions prior to his untimely death, with guitar chords played by Stephen O'Malley of Sunn 0))). To give you an idea of the type of music featured throughout the film, there's an early shot moving across the forest scored to King Crimson's "Starless". Indeed, the score is almost another character entirely, and the film simply wouldn't work half as well if the music wasn't as good.

Aside from the music, the most immediately attention-grabbing aspect of the film is the use of colour, with director of photography Benjamin Loeb's compositions bathed in deep purples, reds, indigos, yellows, greens, and oranges, with the occasional blue (primarily associated with Mandy herself). Often the colours are non-diegetic and unexplained (for example the Horn of Abraxas always appears in green light, irrespective of location). The cinematography also employs a plethora of subjective techniques, such as double lens flares, animation, slow-motion fades and dissolves, telephoto shots, what can only be described as psychedelic lighting, and a hell of a lot of dry ice.

Very much a film of two halves, if the first brings us to the gates of hell, the second pushes us in and slams the gates shut behind us. The first half runs up until just prior to the beginning of Red's revenge, whilst the second depicts that revenge. The first half focuses primarily on Mandy, with Red very much a supporting character, whilst the second, obviously, focuses on him. However, it's not just in terms of narrative content in which the two halves differ, they are also aesthetically different, particularly the editing rhythms. The first is languid and dream-like, almost graceful, whilst the second is like something out of Dante Alighieri or William Blake, filtered through H.R. Giger on acid. The two halves are divided by an extraordinary single-shot 45-second scene of Red (wearing only underpants and a t-shirt) pouring vodka all over his wounds, drinking what's left, and screaming. It's a scene of extraordinarily raw emotion that works brilliantly, partly because scenes like it are so rare. You simply don't often see a male protagonist this vulnerable. This is Mandy's "suit up" scene, and here is Cage crying like a starving baby. It's a brave choice by both actor and director, and it works perfectly both as a stand-alone scene and as a transition from the first to the second half of the film. Indeed, it's not beyond the realms of possibility that one could read Mandy, at least in part, as a meditation on the destructive nature of profound grief, and if so, that interpretation begins right here. Yes, there is more than a hint of an archetypal dualistic cosmology underpinning Red's revenge, particularly Zoroastrianism and Manichaeism, but so too is it a deeply personalised quest.

Especially in the second half of the film (and particularly in the last few minutes), Cosmatos strives to place us in Red's head, which has the effect of elevating the carnage beyond that of your standard ultra-violent revenge movie. As Red's mission progresses, and he becomes more and more unhinged, so too does the film become less and less interested in what we would refer to as reality, introducing such aspects as cannibalism, a bow named "The Reaper" and arrows which "cut through bone like a fat kid through cake", a chemist who can smell where the Black Skulls are, a stoned tiger, eels, a cigarette being lit via a flaming body part, choking via knife, (several) decapitations, a chainsaw duel, a church in the forest with secret underground passages, a skull crushing, hallucinations, even a cosmic event.

There are some problems, however. For starters, it's kind of disappointing when you realise that for all its technical prowess and fascinating aesthetic gymnastics, when it comes down to it, Mandy is just a revenge flick, and at just over two hours, it tends to drag a little in places. The screenplay can also be too on the nose at times. For example, early in the film, Mandy tells a story about her father attempting to force her to kill a baby starling that proves tonally prophetic in the way only stories in films ever are. Additionally, the script (by Cosmatos and Aaron Stewart-Ahn) doesn't give Red a huge amount of depth.

Is there an element of the emperor's new clothes about the entire endeavour? Yes, to a certain extent there is. And, yes, most of the best bits are in the trailer (or at least are spoiled by the trailer - the chainsaw duel would have been much funnier if I hadn't known it was coming). And yes, it's all kind of pointless. However, love it or loathe it, there's no denying that it's brilliantly assembled. As an audio-visual experience, it's unlike anything I've seen in a long time, and it's almost certainly destined for cult status.

First off, any movie that opens with a song by King Crimson should get our attention. MANDY is a hallucinatory, revenge / horror film set in the early 1980's. Red Miller (Nicolas Cage) is on a mission of bloody vengeance after a cult full of psychopaths does the unspeakable to the title character (Andrea Riseborough).

Oh, but it's so much more!

Whether you're a rabid Nicolas Cage fan, or you can't stand him, especially, if you can't stand him, you must see him here! Part Charles Bronson, Part Bruce Lee, Part Bruce Campbell, and all Cage! This is the role he was born to play! He forges his own weapon! He takes on demon bikers! He lights a cigarette with a burning, severed head!

Director Panos Cosmatos pulls out every stop, even outdoing his BEYOND THE BLACK RAINBOW! This movie is LSD itself! In case you were wondering, yes, there is a chainsaw! Two, in fact! Dueling chainsaws! My sweet Lord! The finale will alter your reality and change your religion! All this, and cameos from Bill Duke and Richard Brake too! Watch this ASAP!...

Nicolas Cage seems drawn to the surreal. From David Lynch's 'Wild at Heart' to Sion Sono's 'Prisoners of the Ghostland,' he has appeared in many bizarre films, making full use of his self-styled nouveau shamanic, Western Kabuki acting approach. He shines in ventures like these, never phoning it in; more often than not, to borrow Nigel Tufnel's phrase, turning it up to eleven. Cage revels in playing eccentrics, in films that explore the dark, weird and sinister side of human nature; such as Pantos Cosmatos's 'Mandy'.

Cosmatos's second feature follows Red, a lumberjack, who is in a loving relationship with the titular lady. Together, they live a quiet life, hidden away from the world among the trees. However, in the woods surrounding their home is a darkness- one that is coming their way. A drug-taking cult happen to cross Mandy's path one day, and its leader Jeremiah takes a fancy to her. She is kidnapped by the cult, sending Red spiralling down a dark path of vengeance and violence.

'Mandy' is perhaps best described as being like 'Death Wish,' if it had been directed by David Lynch in an acid driven episode of psychosis. Its narrative- written by Cosmatos, Casper Kelly and Aaron Stewart-Ahn- is wildly gripping, inviting viewers into a world of depravity and death, as Red tries to avenge his lost love. However, while it's an occasionally thrilling picture, it is not a particularly original one. Murderous hippies and revenge sprees are features of countless films, and Cosmatos's characters don't have much depth.

Red doesn't have much personality, Mandy has none whatsoever and Jeremiah is your typical ranting, raving cult leader- the Charles Mansonesque type viewers will have seen in countless movies. His followers, meanwhile, are basically cardboard cut-outs, so little character do they possess. Conversely, the minimal dialogue displays Cosmatos's offbeat humour, and some of the lines are quite memorable.

The film's main strength is its ominously oppressive visual and sound design. It is a stunning looking film. Cosmatos and director of photography Benjamin Loeb capture proceedings with an artist's eye, making excellent use of light and shadow. Dominated by blues and reds, the psychedelic lighting helps generate the film's moody atmosphere, which Loeb's use of irregular angles and unconventional framing heightens. The sinister sound design also adds to this mood, while Jóhann Jóhannsson eerie score runs throughout the picture like an evil wind; bringing death and destruction in its wake.

Furthermore, Hubert Pouille's production design is outstanding, as are the sets. Unique and creepy, the structures and locales that populate Red's world are incredibly detailed and interesting (most notably Red and Mandy's many windowed home and the cult's chapel). In addition, Alice Eyssartier's costume design is striking, adding to each character's personality- arguably more so than Cosmatos's screenplay.

Conversely, a cynical critic might suggest that Cosmatos and editors Brett W. Bachman and Paul Painter should have been more hands on in the editing booth, with particular regard to the first half of the picture. The film moves very slowly for the first forty-five minutes or so, and while this builds mood and suspense, it could also be seen as being a little dull and self-indulgent. Cosmatos could have easily trimmed twenty minutes from the runtime without negatively affecting the narrative; nor impacting the film's aesthetic.

On the other hand, the fight scenes are terrifically realized. Shot at night, set against red and blue lighting, blood spills, chainsaws clash, as heads roll- literally. The action is inventively shot, with the gloriously excessive gore of a Sam Raimi 'Evil Dead' picture. You're on the edge of your seat throughout these sequences, and they are the best part of the film.

The whole affair is anchored by Nicolas Cage's Red, a taciturn man thrust into a world of pain. Through Cage's layered performance, the film becomes not just a moody revenge piece, but a display of how great loss can change a person irrevocably. As only he can do, Cage- though outlandish at times- instils in Red a believable humanity, that not only grounds the film, but makes it utterly engaging.

Andrea Riseborough stars as the titular character and, while not on screen for as long as Cage, overcomes Cosmatos's slim characterisation, making Mandy an intriguing person. Linus Roache is marvellously manic as Jeremiah; if ever there was someone to out-do Cage in the crazy department, it is he. His squadron of slack jawed yokels and acid loving cultists are all played well, by the likes of Ned Dennehy and Olwen Fouéré, while Richard Brake, as the LSD maker, steals his sole scene with a remarkable ease, leaving a lasting impression on the viewer.

Pantos Cosmatos's 'Mandy' may have its faults- mainly regarding the narrative and the lax editing, particularly in the first half- but it is an exciting, entertaining film all the same. Visually stunning and boasting a great score from Jóhann Jóhannsson, it's an audio-visual feast. Nicolas Cage turns in another outstanding performance, while his co-stars Andrea Riseborough and Linus Roache also do strong work. In short, 'Mandy' is another surreal work in Cage's filmography that is well worth seeking out.