"Everything is as it should be."

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The Sisters Brothers: A Review


My Rating: 4.25 out of 5 stars

My Recommendation: SEE IT. An at times funny and also surprisingly moving French, art house “western” that boasts a career best performance from John C. Reilly and a very stellar cast.

The Sisters Brothers, written and directed by Jacque Audiard, based upon the book of the same name by Thomas Bidegain, is the story of the Sisters brothers Eli and Charlie, assassins in 1850’s Oregon. The film stars John C. Reilly as Eli and Joaquin Phoenix as Charlie, with supporting turns from Jake Gyllenhaal and Riz Ahmed.

The Sisters Brothers is a strange film that American audiences, conditioned by Hollywood to expect certain things from certain genres, will probably find frustratingly obtuse. On the surface, The Sisters Brothers is a standard western, with all the revenge fueled shootouts and horse-ridden treks through wilderness you’d expect from that genre, but buried just beneath that veneer of conventionality is the gold of a rich and complex foreign art house film and biblical parable.

I had no idea what to expect from The Sisters Brothers, as far as I knew it could be a slapstick western in the vein of Jack Nicholson’s Goin’ South or something, so I just went along for the ride on which the film took me, and I am ever so glad that I did.

Director Jacques Audiard is a terrific filmmaker, having made three distinctive and at times fantastic French films, A Prophet, Rust and Bone and Dheepan. Audiard’s directing touch on The Sisters Brothers, his first English language film, is exquisitely deft, and his artistic vision and cinematic aesthetic are a perfect match to turn the western genre on its head.

The film is a comedy, of sorts, with the Sisters brothers Eli and Charlie acting like an old married couple, bitching and bickering with one another to much hilarity. But the film is also gripped with an existential and hereditary darkness that gives it a resonant dramatic power.

The film is elevated by four outstanding acting performances. The best of them all is John C. Reilly, a remarkably versatile actor, who gives a nuanced and complex performance as Eli which is the very best of his stellar career. Eli is the more thoughtful of the Sisters brothers, who has a gentle heart and caring soul. Reilly imbues Eli with a palpable sensitivity that, like the character, evolves and reveals itself over the duration of the story. Reilly’s ability to make Eli a genuine human being, rather than a buffoonish caricature, gives The Sisters Brothers a dramatic grounding that is the heart and soul of the film.

Reilly’s Eli is the archetypal feminine in the movie, which is symbolized by his relationship to the spider. In Jungian psychology and in Shamanic traditions the spider is representative of the feminine and of the weaving of fate. Eli has a fateful and intimate encounter with a spider in the film and literally gives birth to a brood of spiders.

Eli’s kindness extends not only to his troubled younger brother Charlie, but to his second rate horse, with whom he grows a deep bond that is quite moving. It is Eli’s feminine nature that is both his greatest strength and also his crippling weakness as it has led to his being usurped and passed by his more archetypally masculine brother for the position of leading brother in the family.

Joaquin Phoenix is one of the best actors on the planet, and he is in the midst of a terrific year in cinema. Thus far in 2018, Phoenix has given stellar performances in both You Were Never Really Here and Don’t Worry, He Won’t Get Far On Foot, and he keeps that streak alive as the combustible Charlie in The Sisters Brothers.

Phoenix is an actor that vibrates with a viscerally chaotic and unnerving unpredictability, and his Charlie is the perfect avatar to highlight that talent. Phoenix’s performance is one of understated brilliance as it is filled with some startling moments of primal anguish and pain.

Phoenix’s Charlie is a deeply wounded soul carrying a grievous original sin, but who has been elevated to the “right hand” of the Father not in spite of that sin, but because of it. Charlie’s great weakness is that he is so wounded he can never mature and evolve enough to survive in such an exalted position. In other words, crazy will only get you so far, but to be fair to Charlie, he comes by his crazy honestly.

What makes both Phoenix and Reilly shine is that they are blessed to have each other off of which to play. Eli ingests spider energy and is transformed, whereas Charlie slays a bear, a symbol of the power of the unconscious and the dawning of a personal spring. Eli’s encounter with the spider leads to transformation, whereas Charlie’s encounter with the bear is symbolic of his breaking of the connection with the unconscious and with that connection goes his chance at self-realization and transformation.

Jake Gyllenhaal gives a solid performance as John Morris, a tracker and wannabe Thoreau who, like the Sister brothers, is trying to understand and deal with the affliction that his father passed on to him. John, Eli and Charlie are all victims of the archetypal father wound, and the malady they carry unconsciously guides them through their lives and propels the film forward. Gyllenhaal’s Morris is more aware of his ailments than the Sisters brothers, or at least becomes more aware of them, which leads him to question the entire purpose of his life.

Gyllenhaal is always at his best when he is understated, and his John Morris is a perfectly subdued and technically proficient performance. Gyllenhaal never pushes or prods with Morris, he simply let’s him be, and that decision makes for a solid contribution to the film.

Riz Ahmed plays Hermann Kermit Warm, a chemist who is hunted by the Sister brothers. Ahmed is absolutely fantastic in the role. Ahmed has a, pardon the pun, warmth about him as an actor that is captivating on screen and that trait serves him well in The Sisters Brothers. Ahmed’s Warm is a Christ-like figure, who radiates a near-defiantly fervent gentleness that is remarkably compelling.

Besides being a biblical and Jungian parable, the film is also a political, religious and economic parable. Mr. Warm is a pied piper for a socialist (and Christ-like, but not necessarily Christian) utopia which is alluring to the idealist and dreamer in all of us. In contrast, the uber-capitalist corporate town of Mayfield is held up as a bastion of deception and debauchery.

The film also touches upon the need for a dismantling of a patriarchy that produces such twisted and tormented forms of masculinity as the Sisters brothers and much of the other violent men in the film. The patriarchy in its old form, namely the character the Commodore, needs to die for these men to ever have a chance to be free from their afflictions and to find the utopia that deep down they have yearned for their entire lives.

The religious aspects of the film are glaring for those with eyes to see them, for instance there is the brothers grooming of each other like apostles or the men anointing themselves with oil in a pseudo-baptismal ritual before they wade into the river. There is also the connection between Mr. Warm and Eli’s horse…who are both, in their own way, beasts of burden, and the viewer should keep a keen eye out for the similarity in the eyes of Warm and the horse at pivotal moments in the film.

The Sisters Brothers is a film with a multitude of layers, each one more interesting, revealing and insightful than the last. If you are planning to see the film, put aside your cultural conditioning and your expectations for a western, and instead watch the film as if it were a dream. Keep a vigilant eye out for spiders, bears, raccoons and the plethora of other signs and symbols that show the way to the film’s profound message.

The Sisters Brothers opens with a shout in the silent darkness of the Oregon night, but then there are flashes of light that splinter that darkness ever so quickly. That opening scene is the story of The Sisters Brothers, for it is a film about alchemy, where finding the gold in the darkness is an act of transformation which leads down the road to redemption. I never expected to be, but I was deeply, deeply moved by The Sisters Brothers, and found it be a profoundly satisfying cinematic experience. I wholly recommend you suspend your expectations and go see this film in the theatre, it is well worth the time, money and effort.


The Lobster : A Review


MY RATING : 4.5 Stars out of 5.


THE ABSURD - The conflict between (1) the human tendency to seek inherent value and meaning in life and (2) the human inability to find any.

The Lobster, directed and co-written by Yorgos Lanthimos, is an absurdist, existential drama* set in a near-future dysotpia. In this dystopian future, single people (those without a spouse) are sent to a hotel resort where they have 45 days to find a suitable partner or they will be turned into an animal of their choice. The film stars Colin Farrell, Rachel Weiss, Jessica Barden, Olivia Colman, Lea Seydoux, Ben Winshaw and John C. Reilly.

The Lobster was a tremendous surprise to me,  as it is a unique and original little gem of a film released during the usual summer tsunami of big, blockbuster garbage. The directing, writing and acting are impeccable. The film thrives because it has the cinematic courage to never comment on itself or revel in its own quirkiness, instead playing it as a straight, remarkably insightful and moving drama. 

At it's heart The Lobster is not a love story, but rather a story about love. It is a story about emotional autism, isolation, totalitarianism, the desperation of desperation and the idea of misery loving company. It is a story about the cruel world of relationships, lisps, limps, nosebleeds, the near-sighted and those black of heart. In short, it is a brilliant and ingenious film that shows the shadow lurking deep in our hearts, and just below the surface of our psyches. 

"I can't go on, I'll go on." - Samuel Beckett

Colin Farrell easily gives the best performance of his career as "David". Farrell disappears into the "everyman" role, even showing off an impressive, and all too familiar, regular guy gut. Farrell's physical transformation is matched by his emotional detachment in the role, and his droll, deadpan delivery. Farrell is an actor who has struggled with the demands of the industry and its push for stardom, and creatively he has never consistently lived up to his obvious ability. In The Lobster, Farrell finally brings all of his formidable talents to bear in a role I never would have guessed he could have managed. It is a credit to his integrity and commitment that Farrell took and embraced this role with such mastery.

The supporting cast is superb as well, with Rachel Weiss giving her best and most captivating performance in years. John C. Reilly does his usual solid work, as does Ben Winshaw as the "limping man". The standout supporting performance though belongs to Lea Seydoux, who plays a steely and determined revolutionary. Seydoux gives a powerfully magnetic performance that is blistering. Jessica Barden and Olivia Colman also make the most of their small roles by creating vivid and complex characters with very little screen time.

"Happiness and the absurd are two sons of the same earth. They are inseparable." Albert Camus

As much as I loved The Lobster, I readily acknowledge that it may be an acquired taste, as my good friend Chaz J. Chazzington saw the film and hated it beyond words, which is striking as he generally likes every piece of crap movie he goes to see. In fact, he literally hated The Lobster beyond words as he couldn't tell me exactly why he hated it, just that he did. I think, but do not know, that his dislike of the film may have to do with his expectations heading into it. The Lobster is billed as a "comedy", and after years of cultural conditioning, when people hear something is a comedy, they immediately project onto the film a bunch of softer and lighter qualities. For instance, when some people hear "comedy" they may instantly think of a Kevin Hart, Will Ferrell or Woody Allen type of  movie. The Lobster is not at all that type of film. In fact, I wouldn't even call it a comedy at all, which is why I described it as a drama in my opening paragraph. In my opinion, in order to fully enjoy The Lobster, one should look upon it as a drama that at times becomes funny. 

"We can regard our life as a uselessly disturbing episode in the blissful repose of nothingness." - Arthur Schopenhauer

I also think my Lobster hating friend may have been put off by the film because it is very dark in theme and tone. Not everyone is comfortable with their shadow, and material that delves into the darker aspects of human nature can trigger deep feelings of discomfort in some folks. Once again, this can come from cultural conditioning, as we are often taught that darker material is "bad", and so we make moral judgements on a film's themes or subject matter and are unable to judge the film on its merits. Integrating our shadow, and the shadow of the wider culture, is vital to psychological evolution and health, and ignoring or shunning the shadow is not only a fools errand, but is physically, mentally and emotionally harmful. When the shadow is presented in a relatively innocuous form, a film, it can then be ingested, digested, absorbed and integrated. Acknowledging the shadow in our own or in the collective psyche through something as ingenious as The Lobster, is a way to pay homage and respect to mankind's darker nature and bring it to consciousness, and thus release some of its power, without having to pay a very heavy price for it, only the cost of admission.

With all that said, The Lobster may be too dark or artistically inclined to be your cup of tea. It was right up my alley though, in fact, so much so, that I think it is one of the best films of the year thus far. I was captivated, entertained and intrigued for the entire two hours. I thoroughly loved the film and wholly encourage you to spend your hard earned money and go see it in the theatre, if for no other reason than to encourage studios to make more films like this one. If you do find yourself hating The Lobster, you can always leave the theatre and sneak into a showing of the movie Central Intelligence, it stars Kevin Hart and The Rock, two of the biggest stars in Hollywood today…if that isn't absurd, I don't know what is.