Stoker the Fire – A Film Review

Bring on the creepy. This is how I officially reviewed the new Kidman flick for Insite.

And by creepy I mean, ridiculously entertaining, can’t-put-your-finger-on-it wariness (the kind where you wonder if this movie is going to scar your personality for awhile) that can only be birthed out of the uncomfortable chemistry between Mia Wasikowska and Nicole Kidman, playing daughter and mother.

Let’s admit it, Kidman has always had the knack for revealing a storyline’s motif beneath her icy glares. You knew something was up in The Others even before they gave it away. You knew she was going to do something crazy in Margo before the fire was lit. And, for sure she passed as a witch with a motive in BeWitched, jovial or not.

But, paired with a grown-up, dark-haired Alice, and the smoldering good looks of Matthew Goode‘s seemingly innocent demeanor (if you’re wondering why you know him, he was in Watchmen and A Single Man), this movie is a recipe for reveling in the weird. And, I loved it.

It’s a perfect concoction of kinky and depressing, but with a dash of curiosity and odd justice that makes it tolerable. The cast is perfect. The writing is perfect. It may be a bit existential to an exponential degree, but I can take it. It fits. With scenes like a saddle-oxford circled sad girl, it fits. The rise and fall of the drama is subtle, gentle and slow to attack. Just like a stealth predator.

And, oh when it does attack, prepare to remind yourself to close your mouth. And don’t feel bad for enjoying it. Props to these funky writers of course, but the HUGE props goes to the cinematography and filming crew, illustrated in every single scene thanks to Director Chan-Wook Park. He opens and ends the runtime so beautifully, softly and elegantly that the grotesqueness of this deranged family’s morale is somewhat gratified, excused and even flattered.

I gave it an A. EW didn’t love it so much – here’s what they thought. But, take my word for it, if you’re a lover of film and original story lines, this is a refreshing escape from adapted screenplays and historical recounts. See it.