MPAA Rating: NR/ Genre: Psychedelic Action Horror Arthouse/ Stars: Nicolas Cage, Andrea Riseborough, Linus Roache, Bill Duke, Richard Brake, Ned Dennehy, Olwen Fouéré, Hayley Saywell, Line Pillet, Clément Baronnet, Alexis Julemont, Stephan Fraser, Ivailo Dimitrov, Kalin Kerin, Tamás Hagyuó, Paul Painter/Runtime: 121 minutes
I think it can be said that at this time there are several distinct elements that are a given in this world. Those being life, death, taxes, and Nicolas Cage. Indeed, ever since his debut in 1982’s iconic teen classic Fast Times at Ridgemont High, there is no denying that the man has become quite the distinct fixture in the land of movie magic. Yet, if there is one side of Cage that is either more noteworthy or, dare I say, iconic than the other sides to this truly versatile talent it would be the side that I will affectionately call here the Ragin’ Cage. This is where, in case you didn’t know, Cage decides to just throw caution to the wind and go as delightfully unhinged and off his rocker as he possibly can. However, while there are some examples of this that are perhaps more noteworthy than others, there is one that I definitely think is worthy of your time. That of course would be the very much one-of-a-kind slice of cinema I am reviewing for you today, 2018’s Mandy. Indeed, here is a slice of cinema that could best be described as an extremely artistic and stylish hybrid of Hellraiser, Mad Max, and Death Wish with a hint of 1981’s Heavy Metal all rolled into one. A mixture that, in case the aforementioned ingredients don’t exactly come right out and say it on their own, will most assuredly guarantee that this slice of cinema is not going to be one for everyone. However, if you are intrigued by such a mix and want to see what such a hybrid would look like if vividly brought to life and then subsequently reinforced with potent and downright hypnotic work done on both sides of the camera then I can promise that you are most assuredly in for a treat with this one.
The plot is as follows: Taking us all the way back to the long-ago year of 1983 in the vicinity of the Shadow Mountains, Mandy introduces us to a man by the name of Red as he is wrapping up a logging job. From there, we soon see that our hero quickly makes his way back to his beautiful and isolated cabin home that he shares with his loving girlfriend, a part-time convenience store clerk/phenomenal artist and writer by the name of (you guessed it) Mandy. Yet whilst our ride or die couple has a comfortable and solitary life together, we know that sooner or later something is going to come along and throw their life for a serious curveball. Sure enough, that something comes in the shape and form of a guy by the name of Jeremiah Sand. Sand, we quickly are able to ascertain, was at one time a musician of some skill, but who lately has found a different way to make his mark on the world. Namely by being a menacing yet also eerily charismatic cult leader who clearly learned one thing too many from Charles Manson. He and his followers incidentally also happen to be the only other people on the road when our hero’s lady love is walking to work one day. Suffice it to say that it should come as no surprise to learn that this slimy scumbag is immediately transfixed by this divine sight and decides to do whatever he can to get her for himself. A goal that ultimately winds up involving a blood-thirsty biker gang straight out of Hellraiser being recruited to offer a polite yet firm “invitation” (kidnapping) to our couple to Sand’s commune of sorts so the sinister cult leader can try to recruit Mandy to his flock. Yet when the recruitment process tragically goes awry, we see that the cult decides to send our couple a little message. One that involves tragedy most foul befalling Mandy and Red, who they’ve already strung up and gagged with barbed wire (charming) being stabbed and left for dead. Unfortunately for the cult and their acolytes, they make one teeny tiny little mistake. Namely that they don’t finish the job. Suffice it to say that it is now up to Red to rise up, arm himself to the teeth, head out on the open road, and hunt down the group that has taken so much from him no matter what the cost……
Now in terms of work done behind the camera there is no denying that, despite only having a pair of slices of cinema under his belt, film helmer Panos Cosmatos has still managed to make quite the creative statement. Indeed, his innovative and medley flair is one that is seemingly inspired by everyone from Kubrick to heavy metal music to great effect (quite the range there I’ll admit). Meanwhile, we also see that this helmer’s daydreamlike technique is one that most assuredly contains a deliberateness to it with particular regard to his utilization of lengthy stretches of time that concentrate more on the visuals rather than anything of heft within them. On top of that, there is no denying that Cosmatos has a clear talent for giving audiences some truly breathtaking moments in this that feel more like art and less like cinema even though getting on the same wavelength as his material may prove to be a challenge for those who are either clear of mind and/or not used to processing things in an abstract manner. We also are able to see that, besides the quite potent dream-style vibe the film is operating with, it should also be noted that the other distinct components of Cosmatos’ cinematic toolkit be it the musical accompaniment, tempo, utilization of color, and quirky performances all manage to have a calculated element to them as well that also enables them to be showcased on an individual basis as proof of this man’s skill at the helm. Yes, the adherence to say nothing of the significance of some of these components might not be as magnificent, but maybe that was the intent of the helmer. I should also say that this slice of cinema is one that comes equipped with incredibly potent work in its visual department as we see that everything right down to the intricate attention paid to the little details in terms of lighting as well as overall look has resulted in a cinematic atmosphere that is completely and utterly immersive. Along with that, the work done by the cinematography department is absolutely spot-on to say nothing of the fact that it manages to operate as a wonderful showcase for all the care provided to this slice of cinema on every level. Of course, the fact that it also manages to conjure up both the riveting imagery on display as well as a very on-point look for this slice of cinema that is vibrant, drenched in blood, and does terrific at keeping your attention hooked to what is going on certainly doesn’t hurt the overall quality of this slice of cinema either. Finally, it should also be noted that in regard to the special effects work in this slice of cinema, they all manage to be incredibly well thought out and subsequently delivered to us as movie goers. Indeed, the blood looks real and flows quite a bit, the kills are wonderfully viscerally and gnarly in equal measure, and the way this is all handled just manages to contribute to both the visual department and just the general chaos on display throughout the film. Suffice it to say that in terms of work being done behind the camera, this is an incredibly well-made film in nearly every sense of the word.
Now I’m not going to lie to you dear reader: the performances given by this slice of cinema’s cast are just as delightfully gonzo and insane as the rest of the film, but honestly, I wouldn’t have it any other way. This starts with the man who many a film fan would consider gonzo cinema royalty Nicolas Cage in the role of Red and no surprise he is terrific in the part. Yes you should know there is a scene in this that will most likely become a highlight for Ragin’ Cage fans where we witness a pretty beat up physically and psychologically Cage rocking no pants in the bathroom and alternating between yelling at the top of his lungs, and downing a bottle of booze whilst also using said bottle to clean his wounds. However, it may be a meme-worthy moment, but by no stretch of the imagination is this moment meant to be unintentionally hilarious. Instead, this is supposed to be a moment where we are being firmly asked to witness a literal maelstrom of agony, sadness, and fury all rolled into one finally (for lack of a better phrase) uncaged and Cage sells it beautifully. Suffice it to say that, even though Cage does manage to raise some wonderfully bloody cain at the end of this slice of cinema courtesy of both a really sick-looking axe he makes himself to say nothing of an ominous and threatening-looking crossbow christened “The Reaper”, there is also a lot more in terms of subtlety than you might be thinking would be present. Suffice it say that in the role of a decent guy whose world is rocked by tragedy and finds that if he truly wants vengeance, he has to do things and go to places in his psyche he didn’t know existed, Cage invests 110% into the part and gives us a performance that is jaw-dropping in more ways than one. It should also be said that, as the titular character, Andrea Riseborough might not have as much in terms of screen time as you might think due to the story being one of avenging her for reasons, but there is no denying that the work she brings to this slice of cinema is equal parts riveting, enchanting, and even a dash of evocative as she manages to encapsulate fairly well the otherworldly and translucent style which the creative team behind the camera is desperate for this entire film to pull off. With that said, a movie this gonzo needs a delightfully loony yet genuinely menacing antagonist and in that regard this film is blessed to have the fantastic character actor Linus Roache fill that void as the egotistical and homicidal cult leader Jeremiah Sand who very much feels like the worst kind of blend of Manson, Koresh, and even a dash of Buffalo Bill from Silence of the Lambs thrown in for perversely good measure. Indeed, Roache manages to bring a joyful insanity to the part as he manages to alternate brilliantly between assertively full of himself, malicious to a t, and also cowering and whimpering depending on the situation. Yet despite being someone who is very much sinister to the core, there is also no denying that if a person were weak of mind enough, they could view this guy on the level that his followers do. Suffice it to say that it is a wonderfully wicked performance from Roache who I hope decides to take on more roles like this in the future. Finally, it should also be noted that this film also has a pair of, for all intents and purposes, extended cameos from both Richard Brake and Bill Duke who I am always glad to see pop up in things and who give grade-A quality work despite their limited screentime in their respective roles.
All in all well I’m not going to lie to you dear reader: a solid 24 hours may have come and gone, but I am still attempting to cope with the assault to my senses that this slice of cinema willingly engaged in. Indeed I feel like I have the headache to top all headaches and that I might have had way too much to drink the night before and yet Tylenol is actually helping and the last thing I drank was a Vitamin Water. Suffice it to say I’m not hallucinating these ailments, but rather simply dealing with the fallout from viewing one of the more riveting and bold slices of cinema from the past 2 decades of movie magic. Of course with such a bold statement on the record, you should also know that Mandy is by no means a perfect slice of cinema. Indeed the movie may be a genuine joy to be had (at least in the eyes of this reviewer), but even I must admit that there are spots scattered throughout where it does seem low on cinematic fuel. As a result, a runtime of 121 minutes (including credits) can seem to be a bit much at times. On top of that, I can definitely see how the images this film hurtles your way to say nothing of how it chooses to regale its distinct narrative might be a bit too weird for quite a few of you out there. With all of that said, for those of you who enjoy the proverbial “midnight film” even every once in awhile, I can promise you that this slice of cinema is definitely right up your alley. Indeed here is a wonderful mix of gonzo Nic Cage, some seriously bad juju, psychedelic imagery, demonic bikers straight out of the world of Mad Max, and visceral vengeance that will keep you on the edge of your seat provided you are someone who is onboard with this distinct odyssey. Suffice it to say that Mandy is not only a cult film in every sense of the word, but also one that is definitely one that fans of quirky and crazy movies should, with great zeal, invest some time into. No, it is not one that I can definitely say is for each and every one of you out there. However, should you find yourself this film’s target audience and should you give it a watch at some point then definitely come on back here. I think we’ll have quite a bit to discuss. Make of that what thou will dear reader. On a scale of 1-5 I give Mandy “2018” a solid 4 out of 5.
