Nightingale

This is one of the most uncomfortable movies that I've ever watched, it does an amazing job of taken you into the mind of a man who is broken and obsessed.

If you're looking for how madness is typically portrayed in movies with cackling, crazy eyes, or erratic movements, then this isn't your movie. If you're expecting an engaging plot, with shocking twist and turns, then look elsewhere, as you'll also be disappointed with the movie. This movie is for those who want a character study, one of a man who is socially broken and unaware, and his spiral deeper into madness. It's a very grounded portrayal which has the positive of making the movie unsettling because of how realistic it feels.

Of course, because the movie is so unsettling, it can certainly turn people off from wanting to watch it. It's also not engaging in the typical Hollywood way; while captivating, I don't really think it's an enjoyable film. So if you like having a good time in your movies, you'll hate this one.

The feel of the movie is very similar to what I would expect to see on stage, essentially a one man show with the single location and communication with the audience. This unique feel makes the movie feel more intimate, though I can see why someone would be put off by it; so if you really dislike plays, I'd probably avoid it.

David Oyelowo gives an extraordinary performance that oozes off the screen, and feels like a real person. I actually know someone in real life with a similar personality, so it was truly eerie to see and get to know a character like Peter, because of how rooted he was.

Overall the movie was well shot and the performance was great, but it's not something I ever want to see again. And I already know that there are a lot of people who won't like this movie, as it has a very specific audience. At the very least I recommend checking the movie out, you'll know by the 30 minute mark if it's your type of movie. If by then you're not into it, then you really won't enjoy it.

I don't do reviews. Movies are subjective. I felt the need however, with this acting lesson of a film by one man. ONE ACTOR in the entire thing. Not one single dull moment, no over the top or expositional acts to bring us out of this man's world.

I knew David Oyelowo was an excellent actor. I don't believe that description is enough to hint at the magnitude of his talent after watching Nightingale. We have all said such & such does not appear to be acting because they are so natural. Well, add to that being the ONLY PERSON in the film AND an extremely nuanced character - covering most every emotion in the space of ninety minutes and you can begin to see why you must watch this movie!!

Nightingale is gripping and well acted. Very powerful.David Oyelowo is excellent .

It is a testimony to both the script and the acting in this film that I watched from beginning to end and was never bored. In Nightingale, which takes place in the home of a man and his mother, we watch this recently returned home veteran come to terms with many of the issues of his life, including his relationships, and the components of his emotional state, namely his wishes, hopes, fears, disappointments, etc. Other people in his life are implied through phone calls and letters. David Oyelowo does a superb acting job in which he travels through different mental states and changes, without going over the top which would have rendered it unbelievable and unwatchable, for me. From beginning to end, he was utterly believable as a man, trying to live, while coming undone.

Never mind Gus Van Sant's ill-advised 1998 remake: here is our ideal 21st century adaptation of Psycho. Instead of custodianship, our contemporary Norman Bates directs his spiteful and playfully sulky jabs to Mother through a video blog while eagerly preparing for guests, yet is shown to be just as fraying in sanity. But there's nothing mad about Nightingale, which ticks along with absorbing insistence, unspooling its familiar narrative of obsession and yearning with deftness and ease.

Any single actor show is always a commitment, but director Elliot Lester keeps the proceedings lively and engaging, with cameras mesmerizingly gliding through every last inch of Peter Snowden's house, while the disjuncture between long, still takes and rapid cutting empathetically mirror his manic shifts in energy, even blurring the frame imperceptibly in solidarity with his drunkenness. Writer Frederick Mensch employs every conceit in the book to stave off stagnation (including a choice HBO gag the film's original viewership must have relished). He motivates Snowden's monologuing and teasing crucial exposition through key props and devices, including his mother's makeup mirror, phone conversations, prayer, and his vlogging interludes, each teasing out distinct strands of personality coalescing into a disturbed but wholly realized individual. Meanwhile, Mark D. Todd's score lends an uneasy serenity to the surroundings, as the film creeps along with a thinly veiled false sense of security.

Story-wise, which enraptures its unravelling protagonist with The Glass Menagerie's anticipation of a gentleman caller of sorts, there are few surprises, but the inevitability with which events transpire is bittersweet in itself. But beyond this cursory human experience, which is affecting enough, there's not much by way of thematic subtext. Childhood trauma and military service are teased, but left as largely self-evident, while it's unclear if the collusion in the character names "Edward" and "Snowden" is meant to imply any sort of commentary (the dichotomy between his isolated loneliness and his consistent filming and publicizing his stream-of-consciousness monologues?), but it's either clumsily implemented or vaguely distractingly gimmicky.

As such, the film is worthwhile primarily as a showcase of its lead, the magnificent David Oyelowo. Nearly unrecognizable from his star-making turn as MLK in Selma, Oyelowo, carrying virtually every frame of the film, is comparably superbly magnetic here. Sashaying through mood swings (and hair styles) encompassing outrageously silly to pouty to vitriolic and destructive, Oyelowo masterfully conjures energy through his constant tension between frenzied movement and stillness, all the while carrying a wealth of achingly sympathetic unspoken backstory in his increasingly bloodshot eyes. It's a spectacular turn, and if, granted, he's the predominant draw and purpose Nightingale, he alone is easily well worth the experience.

-7.5/10