This was absolutely fantastic and may be my favorite film of the year so far. It's incredibly thought-provoking and I think will be one of those movies that you gain more appreciation for with each viewing because of how layered it is. It's absolutely gorgeous and thrilling. Tom Ford does a sensational job and everything from a production standpoint, from the cinematography to the production design to the costumes, is incredible. I loved the contrast between the steely world of Los Angeles and the West Texas thriller elements that encompass much of the plot. Amy Adams delivers yet another phenomenal turn and Jake Gyllenhaal is incredible in what is easily the film's largest and most challenging role. Michael Shannon is a lot of fun and Aaron Johnson is terrifying. A stacked cast of A-list supporting players all get their moments to shine, best in show is Laura Linney in a hysterical and scenery-chewing extended cameo and Jena Malone in a fun little bit that mocks our current generation's obsession with social media. There are some incredibly intense and uncomfortable scenes here - the whole 'side of the road' sequence is one of the scariest movie scenes of the year in my opinion - but it can also be sweepingly romantic in an almost Hitchcockian sense. I can't stop thinking about this movie and it's absolutely a must-see. A

Nocturnal Animals is haunting and intense, an exercise in "pulp fiction" that also has something to say about guilt and regret. Amy Adams, as capable as ever, nails a tricky role that is unflashy on the surface. Jake Gyllenhaal (continuing to add to his diverse filmography) is also superb, and Michael Shannon is wonderful in his smaller role. There are some things here that weren't completely successful, and a lot of people are definitely going to hate this. But I really appreciated what they were going for here and it's one of the year's most interesting films, if not quite one of the best. B+

I have to say that this left me really uneasy, I was actually scared to drive home lol

Beautifully filmed and well-acted, but frustratingly unsubtle, while thinking too highly of itself.

Also, the novel that Edward character has written is pure trash. Are we supposed to believe that he delivered a great classic there?

Nocturnal Animals have two stories - the liberal elite story flies over the red state story. The glimmering detached world of the artist and the author hovers over the pulp fiction visceral world of the beset man with his wife and daughter. I, the viewer, am in the world above that, further removed from the fray. Is it all futile? Nocturnal Animals say no. *B+*

Melancholy in her gilded cage, L.A. art dealer Susan (a stony Amy Adams) is surprised when her estranged ex-husband Edward (Jake Gyllenhaal) sends her an advance copy of his new novel. Titled Nocturnal Animals and unexpectedly dedicated to her, it is a violent story of a gentle, urbane father (also Gyllenhaal) whose family road trip is disrupted in the desert by a trio of sadistic, photogenic-despite-their-filthy-beards locals, their blustery leader played by Aaron Taylor-Johnson. The encounter's tragic outcome upends his formerly content life and pushes him toward insanity and retaliation. As a rule, I avoid the style-over-substance criticism, but it is tempting to use it to describe Nocturnal Animals, the second film directed by fashion designer Tom Ford. There is a vein of substance here—a point of intended intrigue, albeit ambiguous intrigue, is how Edward's fiction is a response to the abrupt and cruel way Susan ended their marital union so many years ago—but it is rather anemic compared to the style, which is grand, hypnotic, and ultimately so decadent as to be numbing. (The opening credits unfold over slow-motion shots of a morbidly obese woman dancing in the nude in front of a patriotic tableau.) After so much mean-spirited, self-conscious meta gamesmanship and a thin, not-as-devastating-as-it-believes-it-is denouement, the film edges close to being unworthy of the patience and time it demands. This despite a few points of undeniable excellence, including handsomely shadowy cinematography and a riveting performance by Michael Shannon as a squinting true-grit detective in the story-within-the-story. The grotesque, shimmering, spellbinding Neon Demon from earlier this year is a far superior option for tangerine dreamers in search of a dose of David Lynch lite.

C+

Ugh, Neon Demon is trash compared to this movie At least the screenplay here is competent.

I need this movie in my life now.

I liked it even if its flawed. The ending was great and the actual horror scenes were superbly done. Aaron-Taylor Johnson comes out the best and that's saying something when the rest of the talented cast is so good.

7/10

the neon demon + hell or high water x michael shannon

Since everyone is talking about it it's not as great as Neon Demon. Not even close. It did remind me of of that film at times though. I enjoyed Nocturnal quite a bit. I'll definitely watch it again sometime.

8/10 (B+)

I thought this was great. Amy Adams and Jake Gyllenhaal are fantastic here and holy shit is Aaron Taylor Johnson scary as fuck. I never knew he had it in him to play a crazy, redneck psychopath, but I bought it. That whole road sequence was intense as shit and easily the highlight of the movie for me. Michael Shannon is solid too, but he felt somewhat underutilized which was surprising considering he was kind of an important character.

I just got home from my second viewing of this film and it's the only movie that has seriously stayed with me that was released in 2016. Not to say I didn't love other films, don't get me wrong but this was on a completely different level. I haven't been able to stop thinking about it and a second viewing only furthered my love for it. It's so layered and I love how everything comes together in the end. It's tragic, haunting and incredibly fitting. All of the acting is top notch and Jake Gyllenhaal and Aaron Taylor Johnson both deserve Oscar nominations for the work they've done here. The direction and cinematography is beautiful as well. It may honestly be my favorite movie of the year.

A+

Nocturnal Animals

A nicely constructed neo-noir which glues you to proceedings with a dual plot that keeps you observing the connections between each. Performances are all sound. Visually perfect. But with the lack of a payoff and a dragging final-third, it struggles to be little more than just an attempt at a more meaningful, dramatic adult psychological thriller.

B

I enjoyed Nocturnal Animals a lot, pretty much every scene attracts, with each story moving closer to its conclusion along the way. Excellent acting work from the cast, Jake is simply a superstar but the best parts are for Shannon and ATJ. While the film is compelling, I find it's flaw in an underdevelopment of either story, I wish there was more to it as the 2 hours felt short. Neither ending satisfied me very much either, but gladly it was a great ride to there. The film fascinates with its obese art show opening and is all throughout visually very pleasing. Its score is effective although not very particular, the film wins most points by simply drawing you into the story to form a bond with the main characters.

A-

I felt the opening obese exhibition was too blatant in that sort of artsy "let's do something the majors would never do" way. And it goes on forever.

It immediately took my attention, I liked it...agree it could be more brief.

Of course it grabbed your attention. It was meant to, but it is needlessly attention-seeking. It's almost as if Ford knew that his film wasn't enough on its own so added something to get people talking.

I see it more as him putting his creative stamp on the film. I probably would dislike this in a vacuum, but I like how he fitted it in the film.

Well, it's hardly creative. It is an attempt to shock, and considering Ford is also a fashion designer, it totally makes sense that his only intention was to grab column inches.

Glad it's on your mind.

As a refresher:
http://yts.ag/movie/tangerine-2015
http://www.worldofkj.com/forum/viewtopic.php?t=77881

***1/2 / ***** (B-)

A surprising step up from the overrated A Single Man, Ford delivers a stylish and intriguing dark neonoir. While the two narratives don't gel particularly well (I'm not sure if it's the editing or the slight missmatch of the visual style used for each narrative) overall it's a strong movie about revenge in various forms.