Martha Marcy May Marlene

Elizabeth Olsen's acting in Martha Marcy May Marlene is really fantastic (it may or may not be her first feature film, not sure which she did first this or Silent House). Her acting combined with the background we get make it easy to see how someone could be drawn into a cult - and stay for so long despite the abusiveness.

The interactions between Martha, her sister and her brother-in-law are downright strange at times but not in a 'hunh?' way at all. They're strange in a way that actually makes perfect sense for the characters and the experiences they've had.

I was really disappointed by the very, very, very end of the film - but I liked the other 100 or so minutes enough that I can forgive it (or forget about it). That and I really can't wait to see Elizabeth Olsen in something else.

Sean Durkin's first feature is quite the trip. Durkin's sensibility as a director shines with this film, and shows undeniable promise. The really crazy thing about this film is that it's quietness is only juxtaposed by the really messed up things that are happening in the plot. An intriguing analytical mess of reality, memory, and fantasy, Martha Marcy May Marlene is about a paranoia, an extreme desire to escape the past, though it always comes back to haunt you. It is the isolation and the trouble that comes with that, that Martha really suffers from-- the cult has a certain way of thinking and the film geniously explores the psychological persuasion into a way of thinking…the way that the cult tries to make their ethics and morality universal is a terrifying, and intriguing thing. Elizabeth Olsen does a helluva job as Martha, giving her dewey eyed complexity, both bewilderment, shock, disgust, and intrigue. She gives quiet moments great momentum, and is an actress to keep an eye on. Jody Lee Lipes' cinematography is eerily distant and then uncomfortably close; the mixed bag reflects Martha's psyche in an interesting way. The scariest thing about Martha Marcy May Marlene is that it actually could happen. It may have even benefited from taking that dive a bit further, let us know just how paranoid and altered Martha is, and especially contrasting that with the old Martha, and the only complaint I might have is that we never get to see what the original Martha was like; it is only inferred as to why she would even accept and join this group in the first place, or what exactly she was running away from. But perhaps that makes the film only more intriguing—running away brought her to this society, and of course it looks fine on the outside, with it's acceptable living conditions and always a "family' of sorts around you. But, ah, there's always more than meets the eye. B+

....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.

Even the title "Martha Marcy May Marlene" is so boring that most thriller audiences will fall asleep before they finish reading it. But before you click away in search of Saw IX, consider this question: Which is more powerful, a bunch of quick forgettable shocks, or a slow intensifying charge that builds up over 102 minutes? M.M.M.M. definitely takes the latter approach, slowly seeping under your skin, never quite giving you the cathartic release of a good zap, but overall delivering just as much power as any popcorn-spilling slasher, but in a very different way.

And yes, I purposely used the analogy of slow electrical torture because that may be how it feels to some of you. It may feel frustrating, annoying, outright boring and torturous, but if you like your movies on the slower, more cryptic, artistic side, then I guarantee you won't be disappointed. So let's hope my 1st two paragraphs were enough to help you make a decision on whether or not to watch this flick. I'll be the first to admit that some days I'm just not in the mood for "2001: A Space Odyssey" and I'd rather just pop in... Saw IX.

Yay you're still here. Ok here's what you can expect if you choose to watch M.M.M.M. It's the story of a young, late-teen, early-20s girl who escapes a bizarre cult commune, and now she's attempting to adjust to a normal existence. Mystery surrounds her, as she doesn't want to talk to anyone about it (brushing it off with a manufactured lie about some ex-boyfriend), and we the audience are kept in the dark for almost half the film. Why was she there? What did they do to her? Are they hunting her down? Perhaps stalking or planning to kill her?

There are no quick answers, but instead the film jumps back & forth between 2 timelines: the current one after she escaped, and the past one where she is slowly being initiated into the cult. And in order to get a grasp of what's going on, you really have to watch the whole 102 minute experience.

But as suspenseful and powerful as the plot is, that's not the point. The point is to draw us, the audience, into the mind of a person who's suffering severe Post Traumatic Stress Disorder. And it accomplishes that masterfully. This is not some Hollywood cliché about PTSD, but it's a complex, heavy, powerful depiction of the anxiety, delusion, paranoia and growing madness of someone who is haunted by ghosts that just won't go away.

Elizabeth Olsen absolutely knocks it out of the park with her performance. Her approach is very layered: on the surface she acts like it's no big deal and that she's a normal person in control of her life, but she frequently exhibits bizarre "socially unacceptable" behavior prompting others to wonder "what the hell is wrong with her??" even though she herself doesn't understand what she did wrong. At the same time you can feel the rising tension and paranoia, especially as the timeline cuts back to darker & more disturbing episodes, and even though there aren't any car chases and chainsaws, we start to feel every bit of her disturbing, confuse existence.

If this slow, powerful approach to cinema appeals to you, then don't hesitate to check out M.M.M.M. I would group it alongside other slow, "uneventful" psychological films like "Shadows & Lies" with James Franco, "Ginger and Rosa" with Elle Fanning, or maybe even the iconic Soderbergh flick "Sex, Lies & Videotape". All of these movies are somewhat slow, heavy and extremely non-Hollywood but they deliver a powerful shock that you won't soon forget.

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.