The Harvest

I have watched this one a couple of times to make sure I felt about it the way I did the first time I watched it, and I do. It's a slow-building drama with a lot of quiet dialog, but that makes Samantha Morton's outbursts that much more jarring and intense. Michael Shannon is able to convey a lot of emotion with very little action, and the child actors in the film do a good job holding their own. I won't give away any plot, as to talk about any of it would lead me down the spoiler path, but if you like a good thriller with a disturbing concept, this is worth a watch (or three).

It's not a "lights off" type of movie, and I wouldn't classify it as horror, but it's a tense thriller in the vein of Fatal Attraction or The Gift. And, it's worth mentioning Samantha Morton again - she plays her role with utter abandon. You believe that she is her character and she's utterly captivating. While she does have shouting and drooling to get her point across, her subtle changes in facial expression and the scariness of her smile is awesome too.

The girl Maryann (Natasha Calis) has just moved to the house of her Grandfather (Peter Fonda) and Grandmother (Leslie Lyles) in the countryside after losing her parents. She is lonely and misses her former friends and decides to wander around the area. She finds the secluded boy Andy (Charlie Tahan), who lives alone with his mother, the surgeon Dr. Katherine Young (Samantha Morton), and his father, the nurse Richard Young (Michael Shannon), in an isolated house. They immediately befriend each other and she enters in his room through the window to play video game with him since Andy depends on a wheelchair to locomote. On the next day, Maryann visits her new friend again and Richard let her in to play with Andy. On the next day, Katherine does not allow Maryann to visit her son and she goes to the house of her grandparents to forbid Maryann to visit her son. However Maryann insists on visiting Andy when his parents are absent; out of the blue, they return and Maryann is trapped inside the house. She goes to the basement expecting to find a way out and stumbles with a dark secret. What has Maryann discovered about Andy's creepy parents?

"The Harvest" is a great low-budget thriller with top-notch performances, highlighting Samantha Morton. The immediate impression is that there is a flaw when Maryann finds the truth and does not call the police. However, if she is not able to convince her grandparents, imagine the police department of a small town. The plot becomes predictable in a certain moment after the first plot point, but keeps the tension until the very end. My vote is seven.

Title (Brazil): "A Ameaça" ("The Menace")

Settling in to bed for a movie I did my random pick and mix and was presented with The Harvest which was mistakenly advertised as a horror, I can assure you that it isn't.

Starring modern day Zod himself Michael Shannon it is a well constructed fascinating little mystery that tells the story of an ill child with his overbearing mother.

It's one of those films that I was drawn into but didn't know quite why, however was eager to find out just quite where it was going.

The pivotal reveal turns the tide of the movie, and I mean that in a good way. The story takes shape, the cast do a stellar job and this under the radar movie I'd never heard of actually succeeded in blowing me away.

I can't say much about The Harvest without ruining it, I will merely say this is a masterworks in filmmaking and though not flawless is still a highly impressive little film.

The Good:

Very well written

Performances are flawless

Perfectly paced

The Bad:

A couple of unanswered questions linger

Things I Learnt From This Movie:

Michael Shannon has one facial expression, I'm starting to think it's a mask

John McNaughton, Master of Horror. The mastermind who brought Clive Barker's twisted words to life in Haeckel's Tale. The man who introduced the world to The Borrower. He reminded us what real-life horror looks like with HENRY, now brings you a all new psychological horror film entitled: The Harvest.

The film stars fan favorites Peter Fonda, Michael Shannon, Samantha Morton, Charlie Tahan (From TV Series GOTHAM) and Natasha Calis. The movie starts off with a incident that thankfully ends up with a blessed outcome. That incident, introduces us to Katherine (played by Samantha Morton) who is caring for her sick invalid son, Andy (played by Charlie Tahan) alongside her husband (played by Michael Shannon). The atmosphere in the film from the get go already has a precursor of things to come.

Like most psychological horror films, there is the slow burn. That being said, the film seems to intertwine between two families and the maelstrom of chaos that unravels.

The unraveling begins with Maryann (played by Natasha Calis), Andy's new neighbor and ONLY friend. She moves into the neighborhood with her grandparents (played by Leslie Lyles and the ever so cool Peter Fonda), after the death of her parents. The two then, form an unlikely friendship. So much in fact that, the caring demeanor of his mother suddenly takes a turn from sweet yet tired to a more domineering almost "Annie Wilkes like persona".

The two friends continue to see each other even at the warnings of both families. As, their friendship grows so does the tension between Mother and Son. Samantha Morton's acting ability truly shows in this film, it's my favorite performance of hers next to "CONTROL". This woman really begs to be hated. Michael Shannon's acting in this film also shows range from his usual bad guy roles. He truly plays the role of a grieving father quite masterfully, so much to where you begin to feel his sadness and pain, it's simply brilliant.

As the tensions rise between both Maryann and Katherine, so does the viewing of this film. It really grabs you by the throat and doesn't let go once you reach the 50 minute mark. John's directing style really adds to the intensity once the film picks up. There is a twist ending that appears, I did NOT see coming!

The Harvest is another example that psychological horror films are not dead. If you are a fan of the genre and enjoy good slow burn with a brilliant payoff ending, then give this film a watch!

I am always more compelled when a story unfolds in an implicit fashion, as when John McNaughton's first feature film since 2001, The Harvest, opens on an incident that is not fully elucidated until several subsequent scenes contrast it with their own stakes and dimensions. We are kept in an ongoing state of anticipation by a patiently, implicitly unfolding story. Most movies feel more of a need to hit an overt, straightforward formula of beats, but what seasoned, patient filmmakers like John McNaughton are willing to hold out for is a contained, clear-cut storytelling style that slow-burns through on the way to pure and constant surprises.

Certain aspects of McNaughton's technique deliberately old-fashioned, and however that befits your tastes, it is that unhurried confidence that allows acutely poignant relationships to pop. There is something refreshingly and uncomfortably profound about the way the fearfully unpredictable Samantha Morton, as the mother of wheelchair-bound Andy, undermines his father, played with tangible vulnerability by gifted Steppenwolf alum Michael Shannon, her fears pushing her to antagonize those nearest and dearest, lashing out with keen cruelty to deflect her vulnerability, and tragically poisoning the already precarious atmosphere around her.

The Harvest, it should be made abundantly clear, is an acutely Midwestern film. You can feel it in its sentiment, in its traditional form, and in its piercing portrayal of awkward lulls and that apple pie sense of manners and politeness. Its center aim is on families and upbringing, and more specifically on the crippling feeling of being sheltered and living in a bubble. And as it unfolds into more psychotic territory, the more adult terror of being alone rears its ugly, ruining head.

Every viewer who grew up in Middle America had friends whose parents they despised. And we all remember the seemingly mortal fear of getting in trouble. The discomfort and suffering in this movie are palpable, owing to the powerfully subtle performances, the delicate direction and the knowing script, but also owing to its powerful sense of place. And when things take a harrowing turn, we're so engrossed that the tension never stops. And even at its most "sensational," it always keeps its feet on the ground dramatically.