A Ameaça

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.

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

I do love a good Michael Shannon film, if he wasn't in it, it wouldn't have caught my eye and I wouldn't have watched it. The mum also plays a crazy mum in the recent seasons of the walking dead and she plays it perfectly in this and that. I like the massive twist, if you've seen it you know what I'm talking about. The film isn't bad, it's nothing special but it's definitely not an L.

Adventurous girl befriends a dying boy and uncovers a dark secret.

This is carefully put together and well acted by the girl and boy. The obsessive mother looked like she was heading for Kathy Bates intensity, but I think the punches were pulled in the end.

Problem I had with this was it starts as a conventional family drama and only ups the stakes halfway through, and even then it never develops a sense of menace. It's as if they thought the plot reveal alone would elevate the story beyond the Nancy Drew level.

Also the pace is pedestrian. The director gets the technicals spot on, but I guess the screenplay didn't give enough to allow the tension to mount.

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.