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Nicolas Cage seems drawn to the surreal. From David Lynch's 'Wild at Heart' to Sion Sono's 'Prisoners of the Ghostland,' he has appeared in many bizarre films, making full use of his self-styled nouveau shamanic, Western Kabuki acting approach. He shines in ventures like these, never phoning it in; more often than not, to borrow Nigel Tufnel's phrase, turning it up to eleven. Cage revels in playing eccentrics, in films that explore the dark, weird and sinister side of human nature; such as Pantos Cosmatos's 'Mandy'.

Cosmatos's second feature follows Red, a lumberjack, who is in a loving relationship with the titular lady. Together, they live a quiet life, hidden away from the world among the trees. However, in the woods surrounding their home is a darkness- one that is coming their way. A drug-taking cult happen to cross Mandy's path one day, and its leader Jeremiah takes a fancy to her. She is kidnapped by the cult, sending Red spiralling down a dark path of vengeance and violence.

'Mandy' is perhaps best described as being like 'Death Wish,' if it had been directed by David Lynch in an acid driven episode of psychosis. Its narrative- written by Cosmatos, Casper Kelly and Aaron Stewart-Ahn- is wildly gripping, inviting viewers into a world of depravity and death, as Red tries to avenge his lost love. However, while it's an occasionally thrilling picture, it is not a particularly original one. Murderous hippies and revenge sprees are features of countless films, and Cosmatos's characters don't have much depth.

Red doesn't have much personality, Mandy has none whatsoever and Jeremiah is your typical ranting, raving cult leader- the Charles Mansonesque type viewers will have seen in countless movies. His followers, meanwhile, are basically cardboard cut-outs, so little character do they possess. Conversely, the minimal dialogue displays Cosmatos's offbeat humour, and some of the lines are quite memorable.

The film's main strength is its ominously oppressive visual and sound design. It is a stunning looking film. Cosmatos and director of photography Benjamin Loeb capture proceedings with an artist's eye, making excellent use of light and shadow. Dominated by blues and reds, the psychedelic lighting helps generate the film's moody atmosphere, which Loeb's use of irregular angles and unconventional framing heightens. The sinister sound design also adds to this mood, while Jóhann Jóhannsson eerie score runs throughout the picture like an evil wind; bringing death and destruction in its wake.

Furthermore, Hubert Pouille's production design is outstanding, as are the sets. Unique and creepy, the structures and locales that populate Red's world are incredibly detailed and interesting (most notably Red and Mandy's many windowed home and the cult's chapel). In addition, Alice Eyssartier's costume design is striking, adding to each character's personality- arguably more so than Cosmatos's screenplay.

Conversely, a cynical critic might suggest that Cosmatos and editors Brett W. Bachman and Paul Painter should have been more hands on in the editing booth, with particular regard to the first half of the picture. The film moves very slowly for the first forty-five minutes or so, and while this builds mood and suspense, it could also be seen as being a little dull and self-indulgent. Cosmatos could have easily trimmed twenty minutes from the runtime without negatively affecting the narrative; nor impacting the film's aesthetic.

On the other hand, the fight scenes are terrifically realized. Shot at night, set against red and blue lighting, blood spills, chainsaws clash, as heads roll- literally. The action is inventively shot, with the gloriously excessive gore of a Sam Raimi 'Evil Dead' picture. You're on the edge of your seat throughout these sequences, and they are the best part of the film.

The whole affair is anchored by Nicolas Cage's Red, a taciturn man thrust into a world of pain. Through Cage's layered performance, the film becomes not just a moody revenge piece, but a display of how great loss can change a person irrevocably. As only he can do, Cage- though outlandish at times- instils in Red a believable humanity, that not only grounds the film, but makes it utterly engaging.

Andrea Riseborough stars as the titular character and, while not on screen for as long as Cage, overcomes Cosmatos's slim characterisation, making Mandy an intriguing person. Linus Roache is marvellously manic as Jeremiah; if ever there was someone to out-do Cage in the crazy department, it is he. His squadron of slack jawed yokels and acid loving cultists are all played well, by the likes of Ned Dennehy and Olwen Fouéré, while Richard Brake, as the LSD maker, steals his sole scene with a remarkable ease, leaving a lasting impression on the viewer.

Pantos Cosmatos's 'Mandy' may have its faults- mainly regarding the narrative and the lax editing, particularly in the first half- but it is an exciting, entertaining film all the same. Visually stunning and boasting a great score from Jóhann Jóhannsson, it's an audio-visual feast. Nicolas Cage turns in another outstanding performance, while his co-stars Andrea Riseborough and Linus Roache also do strong work. In short, 'Mandy' is another surreal work in Cage's filmography that is well worth seeking out.

Ok so I first watched this not sure what it was about but I was hopeful of some good old meme quality Nic Cage Rage scenes at the very least. After it finished I sat there thinking WTF and I had to go make a cup of tea and seriously think about some of my life decisions.

Once that was done I came on imdb to find out more about the film and to frankly rant a little. After spending a good half hour reading a lot of very mixed reviews I decided to leave it and watch the film again another day. Which I just have.

It's not my cup of tea. I think the majority of people will hate this film purely because it's not what they are used too, and they just don't get it. Yes ok sympathise with the haters the film is a very simple revenge plot, there's not much dialogue, it's filmed mostly in red and it can drag on in places and many will turn it off before it gets half way.... Which is a shame as this film left me with a similar 'wtf did I just watch' feeling that reminds me of the first time I watched 'Eraserhead.'

'Mandy' is very much an arthouse film with a dose of 80's grindhouse thrown in and if that's the kinda film you like you will love this film. Nic Cage is brilliant in it, and yes he has those rage moments, the violence is swift and brutal, there's even a chainsaw fight. It's surreal, the atmosphere and music blends perfectly with the madness and drug induced hysteria and anger the film is trying to portray in its own arthouse style and I genuinely think this will turn out to be a cult classic.

So yep, not for everyone, but at least try and appreciate it for what it is. 8/10.

If you think killing John Wick's dog is dangerous wait until you see what happens when you rip Nic Cage's favorite shirt.

First off, any movie that opens with a song by King Crimson should get our attention. MANDY is a hallucinatory, revenge / horror film set in the early 1980's. Red Miller (Nicolas Cage) is on a mission of bloody vengeance after a cult full of psychopaths does the unspeakable to the title character (Andrea Riseborough).

Oh, but it's so much more!

Whether you're a rabid Nicolas Cage fan, or you can't stand him, especially, if you can't stand him, you must see him here! Part Charles Bronson, Part Bruce Lee, Part Bruce Campbell, and all Cage! This is the role he was born to play! He forges his own weapon! He takes on demon bikers! He lights a cigarette with a burning, severed head!

Director Panos Cosmatos pulls out every stop, even outdoing his BEYOND THE BLACK RAINBOW! This movie is LSD itself! In case you were wondering, yes, there is a chainsaw! Two, in fact! Dueling chainsaws! My sweet Lord! The finale will alter your reality and change your religion! All this, and cameos from Bill Duke and Richard Brake too! Watch this ASAP!...

This movie is an absolute trip and people complain about style over substance but that's the whole point of the movie. To give us an insane heavy metal LSD horror trip for 2 hours. It suceeds in every way. Nic Cage is goofy in this movie and it is perfect. Some of his expressions are golden.

I mean if you liked the new suspiria or the neon demon or climax it's kinda in this genre.

Just a brief review here summed up in two words...Absolutely Mental.

Take away the camera filters and lens flares and you are left with an unoriginal revenge film for which there are many better, there's far too many unnecessary slow-motion shots which stretch the thin plot out unbearably to over 2 hours. Critics seem to be lapping it up for its style but I need more then that.

I really enjoyed this film. Honestly, I'm really close to saying that I loved it. This movie is wonderfully inventive, beautifully shot, and totally unlike anything else I've ever seen before. Plus, you get to see Nick Cage fight with chainsaws. What's not to like?

Equal parts psychotropic horror and grindhouse revenge thriller, Mandy is what you might get if David Lynch, Stanley Kubrick, and Andrei Tarkovsky teamed up to remake Death Wish (1974) in the style of a Giallo. The second feature from director and co-writer Panos Cosmatos, after the interesting, but not entirely convincing Beyond the Black Rainbow (2010), Mandy is a psychedelic experience in pretty much every way, and as midnight-y as a midnight B-movie could possibly be. And although it would be impossible to recommend to everyone, there is an undeniable brilliance here. An insane brilliance. But a brilliance none-the-less. Although it could (somewhat legitimately) be accused of too much style and not enough substance, Cosmatos pitch-perfectly mixes an expressionist aesthetic with horror tropes, a generic revenge narrative, and comedy beats. But let's face it, the reason most people will see the film is for Nicolas Cage, and in that sense, Mandy joins the ranks of films such as Vampire's Kiss (1988), The Bad Lieutenant: Port of Call - New Orleans (2009), and Mom and Dad (2017) in giving Cage an organic, narratively justified reason to go full-Cage, digging deep into his reservoir of utter insanity. And that's never a bad thing.

Set in "1983 A.D.", the film tells the story of Red Miller (Cage), and his girlfriend, aspiring fantasy artist Mandy Bloom (Andrea Riseborough), who live a simple secluded life in the Shadow Mountains, in a cabin on the banks of Crystal Lake. Hugely supportive of one another, it's hinted that Red may have been an alcoholic and/or drug addict in his youth, whilst Mandy has a significant facial scar, possibly the result of a troubled childhood, which she alludes to from time to time. All is calm in their life until Mandy is spotted by the Children of the New Dawn, a religious cult led by failed folk singer Jeremiah Sand (Linus Roache). Taken with Mandy's beauty, Sand tells his right-hand-man, Brother Swan (Ned Dennehy), that he wants Mandy, saying "you know what to do." Using the "Horn of Abraxas", Swan summons the Black Skulls, a trio of demonic bikers addicted to a highly potent form of LSD, and along with the Skulls, the Children invade Red and Mandy's cabin, tying Red up in barbed wire outside, and leaving him for dead. Meanwhile, two female Children, Mother Marlene (Olwen Fouéré) and Sister Lucy (Line Pillet), drug Mandy with LSD and venom from a giant wasp, before presenting her to Sand. Singing his own song, "Amulet of the Weeping Maze", Sand attempts to seduce Mandy, but things quickly go awry when he proves unable to get an erection. Unbeknownst to the Children, however, Red has survived and set out in pursuit of both the cult and the Skulls.

One of the things that will jump out at you as you watch Mandy is that Cosmatos packs the narrative with an extraordinary amount of cultural references, some oblique, others more obvious. Prior to hearing any dialogue, there is an audio extract of President Ronald Reagan speaking about how the vast majority of Americans are disgusted by porn. Mandy's art is not dissimilar to the work of Roger Dean, whilst the film's animated sections (of which there are several) recall the kind of material found in Heavy Metal. Indeed, the general aesthetic of the film is equal parts Bat Out of Hell and Iron Maiden. The Children of the New Dawn cult is obviously inspired by the Peoples Temple of the Disciples of Christ and the Manson Family, with Sand himself part Jim Jones, part Charles Manson, and part Dan Fogelberg. The home invasion scene bears more than a passing resemblance to similar such scenes in The Last House on the Left (1972) and Henry: Portrait of a Serial Killer (1986), whilst the revenge narrative has something of the original Mad Max (1979) about it. The film also recalls Valhalla Rising (2009) in places. Sand's "Amulet of the Weeping Maze" is inspired by the work of The Carpenters (which he admits himself). Red is seen wearing a Mötley Crüe t-shirt, and tells an awesome Erik Estrada/CHiPs (1977) joke. During a discussion about which planet is their favourite, Mandy selects Jupiter, but Red argues for Galactus. The Black Skulls are obviously inspired by the Cenobites from Hellraiser (1987). The Children's A-frame chapel resembles the church in There Will Be Blood (2007). This is as culturally-literate a film as you're likely to see all year, and as much as the narrative exists in a kind of shattered-mirror version of reality, these references do help ground it, even if many of them are purposely anachronistic.

Mandy gets off to a cracking start by using the old Universal logo, complete with scratches and dirt on the celluloid. It follows that up with the most pseudo-John Carpenter 80s music imaginable, composed by Jóhann Jóhannsson, in one of his last compositions prior to his untimely death, with guitar chords played by Stephen O'Malley of Sunn 0))). To give you an idea of the type of music featured throughout the film, there's an early shot moving across the forest scored to King Crimson's "Starless". Indeed, the score is almost another character entirely, and the film simply wouldn't work half as well if the music wasn't as good.

Aside from the music, the most immediately attention-grabbing aspect of the film is the use of colour, with director of photography Benjamin Loeb's compositions bathed in deep purples, reds, indigos, yellows, greens, and oranges, with the occasional blue (primarily associated with Mandy herself). Often the colours are non-diegetic and unexplained (for example the Horn of Abraxas always appears in green light, irrespective of location). The cinematography also employs a plethora of subjective techniques, such as double lens flares, animation, slow-motion fades and dissolves, telephoto shots, what can only be described as psychedelic lighting, and a hell of a lot of dry ice.

Very much a film of two halves, if the first brings us to the gates of hell, the second pushes us in and slams the gates shut behind us. The first half runs up until just prior to the beginning of Red's revenge, whilst the second depicts that revenge. The first half focuses primarily on Mandy, with Red very much a supporting character, whilst the second, obviously, focuses on him. However, it's not just in terms of narrative content in which the two halves differ, they are also aesthetically different, particularly the editing rhythms. The first is languid and dream-like, almost graceful, whilst the second is like something out of Dante Alighieri or William Blake, filtered through H.R. Giger on acid. The two halves are divided by an extraordinary single-shot 45-second scene of Red (wearing only underpants and a t-shirt) pouring vodka all over his wounds, drinking what's left, and screaming. It's a scene of extraordinarily raw emotion that works brilliantly, partly because scenes like it are so rare. You simply don't often see a male protagonist this vulnerable. This is Mandy's "suit up" scene, and here is Cage crying like a starving baby. It's a brave choice by both actor and director, and it works perfectly both as a stand-alone scene and as a transition from the first to the second half of the film. Indeed, it's not beyond the realms of possibility that one could read Mandy, at least in part, as a meditation on the destructive nature of profound grief, and if so, that interpretation begins right here. Yes, there is more than a hint of an archetypal dualistic cosmology underpinning Red's revenge, particularly Zoroastrianism and Manichaeism, but so too is it a deeply personalised quest.

Especially in the second half of the film (and particularly in the last few minutes), Cosmatos strives to place us in Red's head, which has the effect of elevating the carnage beyond that of your standard ultra-violent revenge movie. As Red's mission progresses, and he becomes more and more unhinged, so too does the film become less and less interested in what we would refer to as reality, introducing such aspects as cannibalism, a bow named "The Reaper" and arrows which "cut through bone like a fat kid through cake", a chemist who can smell where the Black Skulls are, a stoned tiger, eels, a cigarette being lit via a flaming body part, choking via knife, (several) decapitations, a chainsaw duel, a church in the forest with secret underground passages, a skull crushing, hallucinations, even a cosmic event.

There are some problems, however. For starters, it's kind of disappointing when you realise that for all its technical prowess and fascinating aesthetic gymnastics, when it comes down to it, Mandy is just a revenge flick, and at just over two hours, it tends to drag a little in places. The screenplay can also be too on the nose at times. For example, early in the film, Mandy tells a story about her father attempting to force her to kill a baby starling that proves tonally prophetic in the way only stories in films ever are. Additionally, the script (by Cosmatos and Aaron Stewart-Ahn) doesn't give Red a huge amount of depth.

Is there an element of the emperor's new clothes about the entire endeavour? Yes, to a certain extent there is. And, yes, most of the best bits are in the trailer (or at least are spoiled by the trailer - the chainsaw duel would have been much funnier if I hadn't known it was coming). And yes, it's all kind of pointless. However, love it or loathe it, there's no denying that it's brilliantly assembled. As an audio-visual experience, it's unlike anything I've seen in a long time, and it's almost certainly destined for cult status.

Red Miller and his girlfriend Mandy Bloom have a peaceful life in America's Pacific Northwest until a strange cult arrives in the area. Mandy catches the eye of the cults Mansonesque leader, Jeremiah, and he has her and Red kidnapped by the Black Skulls; a biker gang on acid with a penchant for human blood! Needless to say bad things happen. Red is left by their tormentors and the next day he sets off on his personal mission of revenge. This will involve a crossbow, battle axe and a chainsaw fight before he ultimately faces Jeremiah again.

This is a distinctly strange film but very effective. Once the bad things start to happen the violence is intense and quite disturbing. As Red sought his revenge many things that happened I couldn't help thinking of the quote from Friedrich Nietzsche 'He who fights with monsters might take care lest he thereby become a monster'... Red certainly does some monstrous things. There is something very surreal about what is happening; almost as if it were meant to be viewed as a nightmare or a bad hallucination rather than real events. Nicolas Cage is on top form as Red; his performance is more than a little crazed but that is what the role demanded. Andrea Riseborough and Linus Roache also impress as Mandy and Jeremiah. This clearly won't be for everybody but I'd recommend it to horror fans who enjoy the weird as well as the gory.

A 2018 revenge nightmare starring Nicholas Cage & from co-writer/director Panos Cosmatos (Beyond the Black Rainbow). A happy couple, Cage & wife Andrea Riseborough, live in a secluded cabin in the woods but one day while walking home, Riseborough catches the eye of a psychotic mad man, Linus Roache, w/a messianic complex (aren't they all?) who directs his minions one night to scoop her & Cage up. After she's drugged & dragged in front of Roache, Riseborough makes the cardinal, fatal sin of laughing in front of his presence causing him to kill her off in front of Cage who's left bound to watch. Breaking free of his bonds the next morning & after an interlude of unhinged hysterics & vodka, Cage embarks on a mission of revenge (along w/a trusted crossbow he gets from his friend, Bill Duke) taking down any & everyone behind his wife's demise. Set against a kaleidoscope of purples & blacks in imagery reminiscent of a hellscape painted on the side of a 70's custom van, Cosmatos indulges in the ultimate anti-date night movie which doesn't give us an easy closure to the events but somehow wallows in the id of the characters to send its message home.

This film is just..awful. There's actually a mention about a bad batch of LSD, which obviously the whole crew must have taken...Bad photography, full of kitsch colour filters, to try to render the effects of (bad) drugs, awful dialogs which anyone in their right mind would laugh at, 2 hours of a really boring bad trip... Want something visually stunning, without having to take drugs? Blueberry, by Jan Kounen. Want something a bit more mind-challenging? Altered States, by Ken Russel Want something a bit more fun and gore? Shrooms, by Paddy Breathnach, or Crank, by Mark Neveldine. The point is: this film fails completely, as a thriller, horror, or crime movie. Even back in the 80's, there were already much better films around. The producers must have taken too much bad coke to believe in this project. And speaking of drugs, since the 90's at least, there's MDMA and other empathogens: obviously, this crew missed out on that...Never at one moment during the film do you feel the slightest kind of empathy or sympathy whatsoever for any of the characters...So is it just supposed to be some kind of revenge movie? Even there, you'll find plenty of better movies than this one... So, my advice: smoke a good joint, or not, but watch something else! There's really nothing new here despite the hype...!

Mandy is an sweet cupcake to all the gore lovers out there.

Its a revenge plot with lots and lots of acid trips and rock and roll bgm.

Bad guys are played as hippies with god complex.

A normal wood cutter turns into a blood hungry monster when his wife is kidnapped by the bad guys.

Linus Roache plays the main bad guy and his acting in that role is top notch!

About the hero NICOLAS CAGE his performance is excellent. The way he transforms from a normal guy to a bad-- bad guy is cool. He even has a cool axe like weapon.

Acid trips with trippy visuals,animation, tigers,demon like creatures,biker gangs and more drugs and what not awesome things are in the movie.

They even have a house in the lone forest with a fantastic view.

Finally A must watch for everyone who can handle graphic content.

Mandy is a visually gorgeous film that's like no other film. Panos Cosmatos' direction is incredible and the action sequences are great. Nicolas Cage gives an incredibly committed performance that's both emotional and unhinged when required. Andrea Riseborough and Linus Roache both give great supporting performances. The music by Johann Johannsson is fantastic.

Parents take note! This is not your typical Nicolas Cage film. Although it starts off slowly with some character development, it is quickly thrust into a deep, dark, hallucinogenic, and very disturbing vehicle into raging madness and revenge. This film is not for the faint of heart!

Some of the characters are a bit difficult to understand, so it helps to turn subtitles on.

There is heavy use of color throughout which is reminiscent of many horror and slasher films from the 1970s and 1980s. Strobing and hallucinogenic effects are present periodically.

Despite the seriousness of the latter half of the film, small elements of campy humor are present where they are least expected.

This film is definitely over the top, but is one of those films which must be watched to the end to see what happens next.

There are those who easily forgive transgressions by misguided people and seek to have them treated and return to society as productive people. For those, this is NOT the type of movie.

Perhaps the most appropriate review title here is "Entertainingly Insane." The best clue regarding this movie is what the director says, "The actual story is not so important, what matters is how you shoot it and edit it." In other words, how it looks and feels is most important, and that comes at you full force in this movie.

I would not normally seek out this type of movie but recently I read that Nic Cage says during a period when he was in debt by several $Millions he took lots of roles and made some questionable movies because he needed to earn money.

This probably isn't one of those, I saw a recent interview on a late night show and when asked to name his five favorite movies he has made, "Mandy" was on that short list.

Set in the Pacific Northwest, it was filmed mostly in Belgium where they found some very interesting locations, which adds to the visual design. The movie has lots of red in it, particularly red lights at night, and lots of gore and blood. At its core it is a revenge movie, to destroy a misled religious cult with a fanatic as its leader.

At home on DVD from my public library.

No idea, no goal, super slow, its a complete waste of time, i usually find the positives in any movie, even if its bad, but man that was a whole new level

Nicolas Cage is very well known for going all out. There are memes out there depicting this. And you would be excused for thinking he is like that in real life. But if you watch his interviews you realize he is different. Soft spoken and so different from what he portrays. Seems like he gets it out of his system, when he plays those characters.

But back to the movie, that will split people and their perception of it (someone wrote a review saying that you'll either love it or hate - half the people agree and ... well you get the point). The coloring is amazing, the soundtrack is amazing too. And the movie is ultra violent and quite vivid when it comes to the depiction of it. Not for the squeamish then ... And quite crazy overall

Mandy is an action horror film co-written and directed by Panos Cosmatos. Starring Nicolas Cage and Andrea Riseborough, it is a hypnotic fever dream of nightmarish proportions propelled by a reliably crazy performance from Cage.

In 1983, reclusive couple Red (Nicolas Cage) and Mandy (Andrea Riseborough) live in seclusion in the Shadow Mountains of California. One day, Mandy inadvertently encounters the Children of the New Dawn, a deranged cult of hippies who take a liking to Mandy and later arrange for her to be kidnapped, sending Red into an unrelenting and sadistic rage.

Brutal, shocking, and beautifully shot, Mandy unashamedly thrives on its unique premise from beginning to end. The film appears to have been heavily influenced by the work of David Lynch, with its surreal imagery and inventive cinematography, further emphasising the overall dream-like experience. Nicolas Cage is his usual over-the-top self and he demonstrates this several times during the film's second half. This is certainly not for everyone, but fans of surreal artsy films, graphic violence, and Nicolas Cage will find plenty to enjoy.

I rate it 7/10

I was really waiting for this movie and thought it would be Cage's return but boy I was wrong. 2 hours of absolutely nothing in red colour. Please save your money and do not believe good reviews. Avoid at all costs.

There's some good stuff here, but there's a lot that's complete trash. Shots are needlessly long and there's literally twenty completely unnecessary scenes. It took over an hour to progress the story to any level of interest. It's a shame because there's such potential here.

I thought I had seen it all when it comes to movies with Nick Cage in them. The good, the bad, the ultrabad... I was wrong: I was missing the crazy. This not really a story that we're seeing unfold there. t is, rather, a psychedelic trip the director had after snorting the ashes of an incinerated abomination, cremated right after a female cenobite gave birth to it during a shroom-induced seizure. The locations exist in two flavours only: surreal or mundane. Nothing is done to explain Nick's weapon of choice, there are weird bits of cartoon scattered all around the piece... the only thingthis vaguely reminds me of is the spirit that reigned in Metal Hurlant, only much darker in tone. And for such a paroxystic piece, it's a very slow burner, so you'll never know where you stand with the pace or the plot. That movi is made to be analyzed by cinema students and psychiatry interns. It's certainly not mùeant for the average moviegoer looking for a good time.