On one hand, we’ve got the wacky misadventures of a failing museum administrator (Claes Bang), but the movie wanders about, exploring different sides of its themes of altruism, trust and honesty. Essentially, Claes fails the test of the Square completely and repeatedly, while the severe compositions give us Michael Haneke flashbacks and the light vocal music tells us not to take Claes’s plight too seriously.

Also, Elisabeth Moss makes a phone call while a monkey paints its face red, and guest artist Dominic West (among others) gets roughed up by an overcommitted performance artist. Matt Lynch: “This works more than it doesn’t mostly because it’s very funny and feels spontaneous even though it’s almost absurdly schematic and can’t stop bluntly explaining itself.”

Loki moves into a class-stratified apartment building topped by The Architect Jeremy Irons, and it quickly goes to hell. There’s lots of drinking & smoking & cocaine & sex (with Baroness Sienna Miller) above, while the lower floors lose power and their composure. Belatedly the movie tries to tell us who is whose secret mistress or absentee father, but we’ve lost interest in personal details by that point. Not a dystopian-universe Snowpiercer thing like I expected from reading some Ballard stories – the world outside the apartment seems mostly unaffected.

I liked Pontypoolian Luke “Not Chris” Evans as pregnant Elisabeth Moss’s shithead-turned-documentarian husband. Some okay music choices too, like closing with The Fall’s Industrial Estate, and an upper-class chamber version of Abba’s S.O.S. (later, the sadsack Donnie Darko version doesn’t work as well)

Evans:

Tom Charity in Cinema Scope:

Seizing on the delightfully oxymoronic possibilities of an apocalyptic period film, Wheatley has retained the ’70s period trappings … Yet the movie feels of our time too, immediate, or perhaps imminent, a flash-forward (not backwards) to a present tense we already know in our bones: savage, chaotic, cannibalistic, and doomed. As Ballard puts it, it exists in “a future that had already taken place, and was now exhausted.”

Catherine (Elisabeth Moss of Top of the Lake and Listen Up Philip) and Virginia (Katherine Waterston, the troubled ex in Inherent Vice) spend a week at Virginia’s lake house to bond while Cath is recovering from a breakup. They’re shitty friends though, and the presence of neighbor Rich (Patrick Fugit, main rock groupie kid in Almost Famous) makes Cath crazy – although she doesn’t seem to need much outside help to go crazy. The movie flashes back to the previous summer when they were joined by Cath’s ex James (Kentucker Audley of Christmas Again).

Great atmosphere, shot by Perry’s usual DP Sean Price Williams and edited by Robert “Actress” Greene, and the actors are fun to watch even if their characters are unbearable. More enjoyable on a moment-to-moment basis than Listen Up Philip, I suppose, without the sharp power of that one’s ending. Cameo by Kate Lyn Sheil towards the end.

M. D’Angelo called it Random Creepy Affectation: The Movie.

J. Cronk in Cinema Scope:

At once a character study in the guise of a psychosexual thriller and a parable of friendship filtered through a prism of horror tropes, the film is, perhaps more significantly, a harrowing depiction of depression and the debilitating effects of hereditary paralysis. … Like a lot of Perry’s characters, these women are almost comically mean-spirited as they verbally disarm the opposing party with exceptional eloquence. “One of the worst tendencies of human nature is to assume the best of one another,” Virginia matter-of-factly states in the film’s centrepiece sequence, an unbroken six-minute shot which subtly interrogates each woman as they painfully detail instances of past romance and betrayal, effectively encapsulating Perry’s entire worldview in one bravura gesture.

“I hope this will be good for us… but especially for me.”

Watched during Sundance Week! During Sundance 2015, I managed to watch three movies from Sundance 2014. There are lots of movies from last year that I mean to catch up with, and this seems as good a scheme as any.

Seems like a hard movie to enjoy, a non-comedy with a total asshole lead character (played by Jason Schwartzman, a puppy dog with a severe hairstyle). But the movie only occasionally seems to sympathize with him, and it takes sidetracks into the lives of the people he knows: his long-time girlfriend Ashley (Elisabeth Moss, star of Top of the Lake and Mad Men), his novelist mentor Ike (Jonathan Pryce), and that novelist’s daughter Melanie (new Marvel superhero Krysten Ritter). After the finale, which is particularly harsh towards Philip, allaying my fears that the movie expected me to care about a terrible person’s sense of well-being, I decided maybe Perry set out to make a movie centered on the selfish prick who shows up in minor roles in other movies, usually to make the sympathetic lead characters look good in comparison or to motivate some kind of action on their part. Philip and Ike become friends but can’t seem to motivate each other, because they’re both the selfish prick.

“I want you to contextualize my sadness.”

I didn’t much enjoy Perry’s The Color Wheel, and don’t care for his handheld camera work (although it seemed better here, in color), but can’t ignore a critical mass of critical acclaim – don’t want to sleep on a masterpiece. This wasn’t, but it’s got good acting and some hilarious/horrible moments, like Philip’s response to a student asking for a recommendation: “Here’s a piece of paper with some staples in it. Wish I could be of more help.” Casting Jason Schwartzman and making a movie about white middle-class sadsacks and father issues, decorated with 1970’s book jackets and omniscient narration, Perry might want to hang with Noah Baumbach and Wes Anderson.

Josephine de la Baume, lead vampire of Kiss of the Damned, plays Philip’s fellow English teacher, who poisons the department against him. The Color Wheel’s Kate Lyn Sheil played one of Philip’s exes, and Eric Bogosian (Joe McCarthy stand-in of Witch Hunt) narrated. Edited by Robert Greene, who made a splash last year with his own Actress.

“Tonite only”, that’d be Friday the 13th, Sept. 2013.

My favorite prickly response to the movie comes from M. D’Angelo, who finds the narrator’s grammatical errors and misuse of words “entirely typical of [Perry’s] approach to filmmaking in general. Everything here feels like the work of someone inexpertly trying to synthesize challenging elements of books he’s read and movies he’s seen… which is what ambitious young artists do, to be sure, but they’re generally not celebrated this fervently until after they exit the blatant juvenilia phase.”

A.R.P. on not making “calling card films” to get hired in Hollywood:

There is an ineffable “do not hire” quality to Listen Up Philip, apparently, that shows experienced manufacturers of entertainment that whomever made this film is most likely hard to work with.