Canadian writer/director Stephen Dunn's much-lauded debut proves to be a well-made and well-performed account of a fairly typical coming-of-age story. As the teen grappling with his parents' acrimonious split and his own sexuality, Connor Jessup gives a nicely-judged performance, working well with the director's often smart use of visuals and a spot-on soundtrack. Having Isabella Rossellini voice the (talking) pet hamster would derail many a film, yet here it seems an oddly natural fit in a film that manages the occasional surprise, including a masterfully-realised piece of Cronenbergian body-horror towards the end. This is an interesting and largely successful debut that bodes well for Dunn's future.
Monday, 27 February 2017
VOD: Closet Monster (dir: Stephen Dunn, 2016)
"Thank you for the imagery."
Canadian writer/director Stephen Dunn's much-lauded debut proves to be a well-made and well-performed account of a fairly typical coming-of-age story. As the teen grappling with his parents' acrimonious split and his own sexuality, Connor Jessup gives a nicely-judged performance, working well with the director's often smart use of visuals and a spot-on soundtrack. Having Isabella Rossellini voice the (talking) pet hamster would derail many a film, yet here it seems an oddly natural fit in a film that manages the occasional surprise, including a masterfully-realised piece of Cronenbergian body-horror towards the end. This is an interesting and largely successful debut that bodes well for Dunn's future.
Canadian writer/director Stephen Dunn's much-lauded debut proves to be a well-made and well-performed account of a fairly typical coming-of-age story. As the teen grappling with his parents' acrimonious split and his own sexuality, Connor Jessup gives a nicely-judged performance, working well with the director's often smart use of visuals and a spot-on soundtrack. Having Isabella Rossellini voice the (talking) pet hamster would derail many a film, yet here it seems an oddly natural fit in a film that manages the occasional surprise, including a masterfully-realised piece of Cronenbergian body-horror towards the end. This is an interesting and largely successful debut that bodes well for Dunn's future.
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