Die Kunst des toten Mannes

The styling of this film is interesting, offering a perspective on the shallow but at the same time ruthless and cut throat world of high end art. This is blended with what could be described as a horror morality tale, where greed is repaid with bloody interest.

Regrettably, this film is ultimately a buzz kill. Its story feels incomplete, like a half finished work of art. You can see the sketched outline of what its trying to achieve but its never completes the picture.

This is most notable in the story which seems to me at least to be truncated. Perhaps, the original idea would have taken too long? Its a shame the extra time was not taken, as this actually did look like it was going somewhere intriguing. As a result characters inexplicably go from one state of mind and action to another, without any real segue.

The result is a film I 'sort of" liked but at the same time felt dissatisfied with. It has its clever moments but another twenty or so minutes I feel would have made all the difference. 5/10 from me.

The idea in the film is fantastic but didn't seem to dive deep enough into the story and lacks impact. With most of the characters being pretenious, I was overwhelmed with the use of metaphores and foreshadowing, it became expected throughout the film but doesn't hold enough significance. An origin film on Dease would seem more interesting to me after watching this film.

It's a bit ironic, this film that wants to explore the vapid shallowness of the fine art world in a stylish horror movie setting... ends up inviting the very same criticisms that the finely dressed tastemakers in the film fling about.

Ok. Buzzwords aside. I did enjoy this film more than I disliked it. But in all earnestnest, it was by a hair. Knowing this came from the same guy who made the excellent psochological thriller Nightcrawler. This is like asketchbook of ideas for a giallo-inspired slasher. Each individually awesome. But there's no real throughline to keep us going. People pop up until they die gruesome deaths. It feels kind of slapped together haphazardly.

I expected more from Gilroy

Dan Gilroy reunites with Jake Gyllenhaal and Rene Russo for his new Netflix cooperation VELVET BUZZSAW.

What saves this film, is the lead performance by Gyllenhaal, who plays art critic Morf Vandewalt and provides for lots of great quotes that had me grinning throughout the movie. In contrast to NIGHTCRAWLER's Louis Bloom though, his character here is written as a more naive and less calculating person.

Gilroy's new film definitely lacks the punch of NIGHTCRAWLER. While especially in the first half of the movie the execution of its core premise, exposing the hypocrisy of the artistic elite, ironically turns out to be mostly superficial, Gilroy basically plays with standard horror tropes in the second half. "No originality, no courage", Vandewalt would probably judge. Last year's THE HOUSE THAT JACK BUILT definitely had way more to say in that regard.

VELVET BUZZSAW is still a somewhat entertaining film from start to finish, even if it obviously struggles with its narrative at times and didn't turn out to be the masterpiece that NIGHTCRAWLER was.

Dan Gilroys newest picture, and most importantly second collaboration with the fantastic Jake Gyllenhaal, "Velvet Buzzsaw" is every much as unsatisfying and confused as it appears to be shiny and unique.

The satirical pieces, which take extremely long to set up, never work with the upcoming horror events - and the scenes of terror never seem to fully work under the context of the satirical bits. We're left with a movie that pretends to be clever, intellectual and satirical on art, but displays nothing but a lack of every aspect mentioned above. There are quite some parallels between this and Inarritus "Birdman" (2014), in which the movie is neither convincing nor impressing to justify the flashy and dazzling tone and sense of narrative. It misses substance, thought and precision to back up its ambition.

For the most part though, Gyllenhaal is great, as one would easily expect. And I can not fully degrade the supporting cast who don't seem to be doing anything terribly wrong. It's just as if all the characters have no real purpose besides their bizarre looks and the way they speak. No character has a serious arc, which is sad in this type of movie where it could have easily be portrayed throughout a leitmotif and theme of art. Everything just flows and flows into nearly two hours of badly paced dialogue, horror scenes and stylish art.

I must admit that some of the paintings and visual art looked really nice. The cinematography, and the editing (which was also done by director Gilroy) is not bad too. There is actually one shot that I remembered liking quite a bit. We are thrown into a family watching TV, until the camera moves top to reveal they are actually mannequins in a studio. The problem ultimately is that it's half style, no substance. The style does not tell its own story, neither do the characters. The plot is never explained and essentially only exists by coincidence and chance. "Velvet Buzzsaw" never feels forced, because it simply hasn't got any constitution for the premise. That's in a certain way even worse than feeling forced.

Netflix hit out another pretentious, unconvincing, flashy and "empty" movie, whose only saving graces are Jake Gyllenhaal and the editing.

4/10