Martha Marcy May Marlene

....Or Hot Hippie Cult Love Gone (Very) Bad The schizophrenic, abstract story unfolds almost languidly at a very deliberate pace evoking Bergman with its Euro overtones, serene cinematography and bucolic backgrounds. It's not quite like any American indie films of recent memory. In someways this year's "Winter's Bone", (sharing John Hawks) but with its character study involving sanity slowly, sadly slipping away. Sean Durkin wrote and directed the film with a meditative tone and in a spartan, concise manner that thankfully doesn't suffer from the time-shifting storyline thanks to mostly seamless editing. (Durkin won best director at Sundance last January for this, his first feature.)

Youngest Olsen sister, Elizabeth plays Martha, (who's ripe to play an early '20's version of Vera Farmiga, or Maggie Gyllenhaal's little sis'-you're welcome Hollywood!). It's a marvelous, virtuoso performance, haunting and understated, natural yet very calculated. Olsen straddles the thin line between coherence & madness in a way that's almost endearing and frightening-but ultimately just tragic while side-stepping the mines of caricature and melodrama. She captures the sublimely tortured soul of Mary in a nuanced, organic way that's award-worthy. (And much more realistic and believable than a certain related, crazed ballerina portrayal, but one could argue that one was SUPPOSED to be over-the-top.) Her torment is palpable from the moment she opens her mouth.

The story begins in what appears to be a cult-like commune (is there any other kind in Film-land?) in the Catskills run with an iron fist by Patrick (John Hawks). He's basically a cool, calm, collected version of Charlie Manson-even uttering a few Manson-inspired lines. Hawks can play this type of weaselly, Lothario in his sleep. His quiet menace, vehemence and nihilism seems to be cat nip to his conquered concubines. His word is law, and everybody knows it. Even going as far as renaming Martha "Marcy May", branding her in his own way as you're sure he's done to the other girls in his "flock". But it's not just Patrick to blame for her subservience-the whole cult seduces her! Everyone gets along, & the love is free-flowing in this pastoral, Utopian paradise with many pretty, fresh-faced young women and a few young men (procurers) as well. But all's not well in Well-ville as soon, our protagonist is sneaking out of her home at first light. We don't know how she got there or why she's leaving-although the latter is revealed in the film's third act.

Having no resources, Martha connects with her estranged, older sister Lucy (Sarah Paulsen) and her stressed husband Ted (Hugh Dancy) both in largely thankless roles. Claiming she hooked up with an a-hole boyfriend and just lost track of time the past few years, she won't elaborate any further on her past adventures. Lucy senses the undercurrents beneath, and her guilt gets to her. She sees Martha reluctantly as the cross she must bare being that she's parent-less to the growing consternation-and eventual rage of Ted. The younger sister has obviously changed, running the gamut from playful to feral. Martha the solipsist at first starts out innocent enough with inappropriate behavior like skinny-dipping in full view of Ted, challenging the couple's class consciousness and asking strange questions regarding married couples' mating habits. That's nothing though compared to what's to come and soon, it becomes obvious this is no mere existential crisis-she's become unhinged and needs to be committed. Cult life has been one long mind-f**k she never got over as she tries to fit in to her sister's straight world. When Lucy finally lowers the boom on Martha, (Paulsen's best scene) she recoils and calmly hits her with a cynical, vindictive comment meant to exact a devastating toll on her older sister that almost knocks the wind out of Lucy.

In between these scenes of family revelry, we're given glimpses into the sequence of events that lead to Martha's escape. From her sad, drug-induced deflowering, sorry, "initiation" by Patrick, to the special song he has written for his new main squeeze, (You get the feeling he's gone out of his way to find horrible musicians as his minions thereby making him Clapton by default.) to the tragic turning point. (The only scene in the movie with an obvious outcome.) One thing's for sure, Lucy's kid sis' is a mess, she begins to doubt her decision, her sanity, and herself. She's disintegrating-and she knows it. Even as she clutches the very fragments of who she thinks she is: "I'm a "teacher and a leader!" Martha is like a cat ready to pounce, always on edge. In fact, the more you dive into those lost, mesmerizing eyes, the more you're reminded of the kitten who's found herself up a high, narrow fence not knowing how she got there or having the faintest idea how to get down-or even which side to get down on.

As an actress, Olsen is able to wire walk confidently and has the potential to be this generation's Jodie Foster. (Yeah, I said it.) Even when Martha's waking life seems to blend into her dreamworld, and you can practically see her drowning in emotional quicksand, the actress is able to keep the character grounded in the real and the surreal at the same time-no mean feat for someone barely out of her teens. The direction, and story are well-served by the dark and unnerving score by Saunder Jurriaans & Danny Benasi, bubbling under nicely and melding with Martha's encroaching paranoia. The seamlessness of the two story lines come to a head with a THOROUGHLY maddening, tantalizingly teasing, made-for-sequel final scene-only the joke's on you-there won't be one...

Cast: John Hawkes, Sarah Paulson, Elizabeth Olsen, Hugh Dancy, Brady Corbet Director/Screenwriter: Sean Durkin Producer: Josh Mond, Antonio Campos, Chris Maybach Genre: Drama/Thriller Rating: R for disturbing violent and sexual content, nudity and language. Running time: 120 min. Release date: October 21 ltd.

This film got a lot of praise and was even described as one of the best films of 2011, after watching it I find it hard to see why people would say that.

The content is good, the story is of a girl trying to adapt back to normal life after escaping a cult. It is edited in a very clever way, with flashbacks to memories of the cult dotted throughout. Each flashback's beginning is similar to the real life situation. As the film progresses the flashbacks become longer and her reaction to them becomes more severe but this is as far as the film goes. Elizabeth Olsen was very good and this is a great debut for her. Other performances in the film were pretty weak and the storyline at some points can be weak too.

At some points it feels like the film is trying too hard to be unique. It deliberately doesn't explain certain things like why the sisters' lives went on such different paths perhaps because they wanted to leave so much of this film's content for the viewers to question. It just makes you more and more frustrated, especially when the credits begin to roll and you realise that there was no real climax or even a resolution worthy of making this film one of the best of 2011.

The way in which this film is shot is great, the saturated colour scheme portrays Martha's bleak perception of life and works wonders for the tone of the film.

Overall, this film would have been great if they had just finished the story. Elizabeth Olsen has proved her capabilities in this and hopefully will move onto better films. I would not really recommend this film, it's not a film anyone NEEDS to see but it's not terrible, the film is good but more would have been better.

Moments after the credits began, I knew Elizabeth Olsen was destined for the Oscar red carpet for her work in Martha Marcy May Marlene. It was a quiet thriller I knew very little about content wise before hand, but knew all about the acclaim it has received since premiering at Sundance and Cannes earlier this year. When it came to the Toronto International Film Festival, it was one of the first films I clamoured for tickets for. And now I know why.

Martha (Olsen) has fled an abusive cult lead by Patrick (John Hawkes). After years of being off-the-grid, she calls her estranged sister Lucy (Sarah Paulson) to pick her up from a bus shelter. Lucy brings her to the lakeside cottage she shares with her new husband Ted (Hugh Dancy), where they are to spend some much needed time away from their lives in the city. But as Martha tries to adjust back to a normal life, she is continually haunted by the memories of her life in the cult.

I was initially underwhelmed walking out of Sean Durkin's debut feature, loving Olsen's performance but not much else. But as the days have gone on, I continually find myself obsessing on every moment of Martha Marcy May Marlene. Despite the backwoods feel and its atmospheric similarities to last year's Best Picture nominee Winter's Bone, this film is just simply unmissable. It is deeply unsettling throughout, and one of the few films that succeed in making the audience deeply uncomfortable. I usually find myself shifting in my seat from boredom. Here, I was shifting just because of how quietly terrified and incredibly disgusted I was with what was going on on-screen. It is a moody piece, but one that sticks with you and scares you more every time you talk and think about it. And it is that feeling, that earnest inner torment that keeps bringing me back and appreciating it more and more.

Durkin brilliantly frames the film in a similar vein to Memento, jumping back and forth between Martha at her sister's cottage in the present and her life in the cult in the past. He weaves in and out of the timelines with care, never once confusing the audience. We simply watch as Martha tries to get on with her life, but keeps finding things that remind her of moments she spent in the cult. He frames the story entirely around her, allowing her unreliability to throw the story into off-putting and disturbing directions. I found myself simply stunned by some of the unbelievable things that occur without warning. Nothing too horrific physically happens, but Durkin makes the implications of what is even more so. More impressive is how no one thing in the film feels insignificant. They all just add up on top of each other magnificently, and help drive the paranoia that plagues Martha from scene to scene, just as much if not more than it does for the audience.

Olsen has appeared in a few films before her work here, but this is an incredibly impressive true debut film for her. Her performance is simply unbelievable and unmissable. Watching her transformation from naïve teenager to paranoid, PTSD victim on-screen is one of the few absolutely amazing moments of film we have had this year. It is made even better by the fact that the film is not even told in sequence, so we are forced to watch her navigate between the depictions with relative ease. Watching her character's arch blossom into something terrifying is something that has become truly rare for such a young, unaccomplished actress. But she makes it work, and forces the audience to never take their eyes off her. She just ups the ante with every scene, and undercuts every actor who she shares the screen with. She is magnetic, and commands the screen with such strength that you would never even pretend to imagine that she is related to the Olsen Twins. Whatever doubts I may have had about the film did not even come close to quashing her compelling and spectacular performance.

Hawkes continues to prove what a remarkable supporting player he is with his work as the leader of the cult. He is always frightening and nightmarish from the very beginning, but seeing him differing forms of sincerity make him a genuinely scary villain. We practically scream at the screen before and after what he puts Martha (or as he calls her, Marcy May) through, and his performance is one of the key reasons why the film is so vividly unsettling. Watching Hawkes playing the guitar and serenading her with a tune he wrote "about her", may go down as one of the most horrific scenes in film history.

Paulson and Dancy do a fairly great job in their thankless roles as Martha's actual family. They help propel the film forward and make Olsen's role all the more fantastic, but I found that they were not given all that much to do outside of helping move the story forward. Paulson does get some very juicy moments, but I think their roles could have been all the better if they had so much more to do. They just seemed like mere plot devices more so than anything else.

While there is still something I still cannot quite describe that holds Martha Marcy May Marlene back from being the best film of the year, I cannot stop thinking about how powerful and great it really is. It is an ambiguous film that stays with you long after you leave the theatre and one that packs one of the single best performances of the year. This is an incredible directorial debut for Durkin, and an even better one for Olsen. Missing this film when it hits theatres is quite simply unacceptable.

8.5/10.

I'm tempted to give Martha Marcy May Marlene a higher rating than it deserves for what it could have been, not for what it is. It boasts two young talents who are showing tons of potential - director Sean Durkin and lead actress Elizabeth Olsen; Olsen's performance is subtle and effective, and Durkin's directorial work creates a strong sense of atmosphere, which is aided by the superb cinematography of Jody Lee Lipes (who also had very little prior experience in feature length films). It's a film that looks and sounds great, but unfortunately it doesn't mesh into a satisfying experience.

It's probably because there's so much potential and so much to explore, and so little of it is actually brought to fruition, that I left the film with a bitter taste of a missed opportunity. The cult, for example, is fascinating, seductive and nightmarish, and John Hawkes delivers outstandingly, but on closer inspection it looks like a perfectly generic hippie cult of the classic Manson prototype, and we get no hints of what their philosophy actually is, or about the personalities of any of the members. The same goes for the relationship between Martha, her sister and her brother in law, and most of all the ending, which suggests some very interesting subjects which the rest of the movie doesn't really explore.

To be clear: I don't object to open endings or films that leave a lot of information out to allow viewer interpretation, but in this case I felt it was done as a cover up for lack of decision on Durkin's part - a flawed script that doesn't really feel complete. I'll definitely check out his work in the future, but this film isn't quite there yet.

I'd never heard of this and when scrolling to find a movie it popped up.

A slow, intense, psychological character study. There are some distressing scenes (sexual assault, violence) that were acted brilliantly.

The silence throughout the movie added to the intensity and put the viewer firmly into the mindset of the main character (Martha), who was excellently portrayed by Elizabeth Olsen.

Sarah Paulson (I should add I am biased towards her as she is an exquisite human) added depth and a gentleness that was required for the character of Martha to explore her situation in the scenes between them.

The aspect and post production on this was beautiful, the lighting throughout was spot on. The way that many scenes in the 'cult' were in near darkness contrasting to the light filled space once she left gave excellent visual cues and a sense of the tumultuous emotions being felt by Martha.

Would definitely watch again to see if there were background things I've missed.