Manchester By The Sheet.
92 Mins. Starring: Casey Affleck & Rooney Mara. Director: David Lowrey.
Aint them bodies sheets? Casey Affleck and Rooney Mara! Joined together forever by the heart of their foreheads. Even if they are cuffed and lead away from each other. That was the pivotal, iconic moment these love angels breathed fire into 'Petes Dragon' director David Lowrey's breakthrough independent picture, 'Aint Them Bodies Saints'. Now this big threes body of work reunites as we go beneath the sheets like we've just watched a horror film for the classic, 'A Ghost Story'. A spirited film about a house ghoul that sends more than a shiver down your spine. Because this 'Ghost', no Swayze pottery in the corner may not be scary...but boy is it haunting. Never mind how they got this ghost in the sheet. As two strategically cut eye holes in some morgue linen makes for a traditional Casper as old school as white sheet G-G-Ghost design time. But there's something more complex that goes into the curvature and creases here than merely draping this years Academy Award, 'Best Actor' Oscar winner Casey Affleck in some bedclothes or getting a bedpost stand in. Because this simple set-up covers you for a cleverly laid out, stunning story that transcends space and time and the existential universe like the roots laid out by the seed of Terrence Malick's terrific and majestic 'The Tree Of Life'. A film as divisive as it is definitive. And this too may turn as many heads to the door as it does critical wavering gaze, but it shouldn't. Because this what real and raw crafted dramatic cinema of the darkest depths of the human condition is truly all about. And this melancholic melody of meditative poetry, pulsing to the beautiful beat of Dark Rooms outstanding 'I Get Overwhelmed' is genuinely the most heartfelt, lyrical story that more than likely you'll ever see. If not the greatest film of the year and the most original and spiritual one of the decade...which is a declaration that somewhat feels trite in comparison to what this piece of art actually means. Don't give up on this ghost.
Achingly somber but heartbreakingly beautiful, this poignant picture shows us that everything that haunts isn't always harrowing. And as 'Gone Baby Gone' and 'Interstellar' actor Casey Affleck dies on screen before our eyes (in character...not literally or by way of failure) this is no spoiler, but an alert of a higher power at work that is pure perfection. Universal's 'Dark Universe' of Johnny Depp's forthcoming 'The Invisible Man' should take note, it actually takes real skill to act covered up and out of sight. Even if the only thing you see before the eyes is two gaping, big black holes leading to the deep dark of nothing and everything, all at the same time. Affleck makes his case for some ace acting almost akin-at least cousin-to the white dot motion capturing of Caesar and Gollum himself, 'Planet Of The Apes' and 'Lord Of The Rings' franchise star Andy Serkis, who already should have a green screen Oscar already on his mantle. Now sure Casey doesn't deserve another Academy Award back-to-back for this one, but surely a nomination. As this nuanced performance of every emotion, from anger to anxiety is purely felt in all its sadness..even if it is something the eye can't see. As emotionally moving with bruised beauty as his 'Best Actor' winning 'Manchester By The Sea', but even more magical and definitively different in it's nature delivery and healing power. Even when Affleck is not attired in everyones go to last minute, Halloween night costume, he gets up to his A-game, repressed angst riddled, conflicted, as per acting. With his hagged hair and grizzled, razor-less beard look he was seen accepting all his awards with. Ben's brother, truly no longer referred to as little or just "another Affleck" now. Even if big bro is Batman. As in this captivating, Polaroid like slide show viewed feature film from A24 (just as compelling and as mesmerizing as the 'Moonlight' Best Picture), Casey shines a light on the life and times of a man by the sheet.
Affleck isn't all on his own when it comes to spirited actors performing like their life depended on it however. As Oscar nominated 'Best Supporting Actress' for 'Carol' Rooney Mara, who was last seen in the Academy Award considered 'Lion' and really showed different dimensions in sole lead performances like in Steven Soderbergh's 'Side Effects', further inks her real and raw reputation like she did with the punk studded peroxide power of 'The Girl With The Dragon Tattoo'. This 'Bodies' co-star has a famous sibling come first too, but 'Fantastic Four' and 'The Martian' Kate's sister has made her own way like all the NFL ownership family has. And now at the top of her game Rooney is a revolution in modern day subtle but sublime, simple acting sincerity. That's why she could stand next to best actress of our time Cate Blanchett and show that 'Supporting' had nothing to do with it, just like the best actor in sheet here. Mara moves you with her weary eyes that say a thousand words more than her or this actual ten minute worth of dialogue film does (most coming from a party poker player waxing lyrical about the meaning of more than life, but the very world and universe as we know it...not to mention Beethoven in a symphony of speech). Which is perfect for a picture of this slow burning nature and emotion nurture. That's why we can sit transfixed watching her eat a whole cherry pie on the kitchen floor because we know...no we understand what it means. Mourning is more than tears and Hollywood screened and scripted sadness. Sure this doesn't sound exciting...but death isn't and heartbreak and the loss of love and life is still and silent. Longing without loudness, lulling us into laments that are as privately felt as they are innerly screamed from the soul. This is truly what makes this tender touch of a story all about the matters of love, when most so-called heart-warming dramas can seem like calculated coldness in comparison. From early settlers to future foundations in a home where the heart always is and never leaves, this emotion picture has hidden 'Lost In Translation' moments yearned to be revealed in endings that will be scratched and itched and book club discussed like the conclusion of 'Arrival' for what they mean across life, space and time for the characters and for us in the wider, more metaphorical world. Like the 'Tree Of Life', Lowrey's legacy in this legendary body of work will still grow like the inspired interest and influenced intrigue, no matter who puts a sheet over it. Like flickering lamplight or crashing crockery this bump, for all sorts of different reasons will still keep you up at night. TIM DAVID HARVEY.
See This If You Liked: 'Aint Them Bodies Saints', 'Manchester By The Sea', 'The Tree Of Life'.
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