Review of Nocturnal Animals (2016) by Spangle — 11 Dec 2016

Nocturnal Animals is the second film by director Tom Ford and, likewise, it is the second film I have seen from him. The famed fashion designer known for his visual style fleshes this out in Nocturnal Animals, starring Amy Adams and Jake Gyllenhaal. Telling the story of a woman who reads the novel of her ex-husband and slowly realizes it has a basis in reality, Nocturnal Animals is a tense, thrilling, and visually arresting film, but it does get a bit too caught up in its style to be anything truly spectacular. As it stands though, it is still a very good sophomore effort from Ford in the director’s chair.

As with A Single Man, Nocturnal Animals’ greatest asset is its visuals. The stunning cinematography is not the only area of this, but it is where I will start. The best shot, to me, was of Edward Sheffield (Gyllenhaal) running from the desert to the road and through a barbed wire. Focused on the desert, Gyllenhaal enters the frame at a distance from the right and the camera never moves. No close-up, nothing. Rather, he still in the far third of the screen. The end result is a beautifully staged shot that, for whatever reason, really worked for me. Similarly, gratuitous shots of the desert are a personal favorite of mine and apparently Ford too, given how often he used them. Similarly, shots of cars driving at night or simply the Texas landscape prove to be gorgeous shots. However, as is expected, Ford has a eye for style. From terrific costumes for Amy Adams, great make-up/hairstyling, and great production design with a stunning level of detail, Ford creates a truly beautiful world that makes you want to cloak yourself in its aesthetic appeal.

In terms of its plot, Nocturnal Animals occurs in both the non-fictional and fictional with the latter being in Susan's mind as she reads Edward's novel. As she reads, Ford often cuts between her reading and Edward and Sheriff Andes's (Michael Shannon) reenactment of the story. As it progresses, however, Ford often cuts between Susan and fictional Edward doing the exact same thing. Showering. Rising out of a bath. Showering again. Laying in bed in opposite directions. Here, Ford tries to create a connection between the fictional and non-fictional, but undeniably becomes far too focused on creating artistic appeal than anything else. The cuts are pretty, but feel far too indulgent to really land with much power. Fortunately, the plot does save this element with powerful stories that parallel one another. It is clear that Ford is evidently pro-life in this film given his portrayal of abortion in both worlds. Yet, it is incredibly interesting to watch this parallel come together in the plot and even in the title (a nickname given to Susan by real Edward). This is really where much of the intrigue of Nocturnal Animals comes in as, otherwise, it would just be a pretty typical revenge thriller. Here, it adds another layer and, as such, becomes a truly compelling work worthy of further study.

Performance-wise, I would be lying if I said Michael Shannon did not steal the show. As a hard-nosed cop who violently throws up often due to his lung cancer, Shannon does not put on a Texas accent to disappear into his role. Rather, he carries himself with the attitude and swagger of a Texas sheriff and, simply by seeing him walk into frame, you know he means business. Gyllenhaal is also terrific here as the grief stricken Tony Hastings in the fictional world. Powerful and intense, Gyllenhaal brings to the forefront Tony's personal issues with his/Edward's own masculinity and being called "weak". Often moved to anguish, Gyllenhaal - though upstaged by Shannon - continues his hot streak of terrific roles and performances. Compared to the men, Adams is far more low-key. Her role is far more subdued and subtle. She plays the role terrifically well, however, capturing the emotionless nature of her character, never showcasing the slightest hint of being broken or phased by those around her.

The best piece of Nocturnal Animals is its visuals. Haunting, arresting, and simply gorgeous to view, they are certainly bolstered by a good score that rises at the perfect moments and great acting. Yet, Ford's willingness to indulge in his artistic endeavors far too often do hold the film back a bit, notably during the cross-cutting between Adams and Gyllenhaal and the opening sequence. In this way, Nocturnal Animals is certainly beautifully imperfect.