![]() The fun should therefore be in the journey more so than the destination but while Horns offers alternating moments of good dramatic acting and lively horror/comedy sequences (the "horn effect"), it often feels as if we're meandering from one of Ig's encounters to the next. When things go over-the-top religious/supernatural in the final act, the film arguably jumps the shark altogether. Judging by the final theatrical cut of the film, it's hard to tell whether screenwriter Keith Bunin ( In Treatment) couldn't wrangle the novel into a streamlined screenplay, or whether Aja just couldn't edit the film down into something with more paced and purposed. Due to the past/present structure of the narrative, the mysteries aren't mysterious, and the arc of the story is abundantly clear right from the start. ![]() Hill's novel is actually a surprisingly dense character study with multiple thematic threads (family, religion, love) and constant switches between points in the past and the unfolding present. ![]() ![]() The main drag of the film is in the editing. ![]()
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