Directed By Karyn Kusama
Starring – Nicole Kidman, Toby Kebbell, Tatiana Maslany
The Plot – Follows the moral and existential odyssey of LAPD detective Erin Bell (Kidman) who, as a young cop, was placed undercover with a gang in the California desert with tragic results. When the leader of that gang re-emerges many years later, she must work her way back through the remaining members and into her own history with them to finally reckon with the demons that destroyed her past.
Rated R for adult language throughout, violence, some sexual content and brief drug use
– Riveting performances all around. As expected, this is Kidman’s stage to shine, and she does so as Erin by channeling a combination of grief, anger, and confinement for this woman that stitch together two contrasting performances for the price of one. As far as physical transformations go, this is easily Kidman’s best work to date, as Kusama strips down every elegant and defining feature about the actress, in favor of this weathered and fragile look that tells the story of everything she’s been through long before the narrative does. Aside from Kidman, Toby Kebbell also commands attention as the film’s central antagonist. Kebbell’s variety in roles accepted have carved out quite an impressive resume for the Australian star, but it’s his work here that gives us glimpses of the terrifying presence that he should’ve had as Doctor Doom in 2014’s “Fantastic Four”. Kebbell’s cold stare practically burns a hole through the camera lens, and dares us to look for even a second to test the influence he has over us the audience, as well as the gang he is in control of.
– Unique method of storytelling. I compare this movie to a season of “True Detective”, in that the events of the past are every bit as important as what’s transpiring in the future, but it’s the full circle sense of sequencing is what really made this movie something special. Without spoiling anything, the first act introductions are brought back late in the movie, this time to add layers to the kind of images we saw that were easily glossed over when you didn’t know the entire picture. Overall, it gives the film an unnerving sense of time loss that reflects Erin’s greying eyes, and makes us the audience question if what we’re seeing is in fact reality.
– A woman’s touch. Kusama takes a human approach to a story so riddled in surreal violence, drugs, and characters that feel so foreign to the everyday person, and blends them together with living, beating woman whose priorities are never lost despite all of the madness. Erin as a character is very much a mother first, therefore she continuously takes time to look after her daughter even when the rest of her world is crumbling down around her. This not only gives the character strong integral value in terms of being a protagonist, but also speaks volumes to the good side of her who has otherwise been lost in the struggle of some truly awful decisions over the course of sixteen grueling years. Even when Erin doesn’t look familiar to us, Karyn never jumbles her conscience, and above all else crafts a character piece that sees unorthodox shades of grey in the usual white or black side of good versus evil.
– Julie Kirkwood’s gothic sense of cinematography in this nightmare world. L.A has never looked so seedy and haunting as it does in “Destroyer”. It’s a sense of environmental establishment that David Lynch would greatly appreciate, and makes the film’s setting feel every bit as remorseful as that of our leading lady. Kirkwood has been doing her thing for well over a decade now, but this is easily my favorite work from her to date, as the sunshine influenced visuals rubbing off on Erin’s emotionless pallet speak volumes to the familiarity in world that she can’t run away from, constantly glaring in her face with unabashed reminder of the things she’s lost.
– A slowburn sizzle. This won’t be a movie for every one, and I understand that people need actions to sustain their interest in a film, but for me I was much more captivated in Erin confronting the demons from her past, and finding out why she holds herself responsible for the things she can’t change. This case as a whole feels like the lone purpose left in her life that she herself can make right, and it’s in that inspiration where we see evidence of the great detective that she could’ve been had her life gone drastically different. In addition to this, I’m a sucker for a duel narrative that eventually reaches a head-on collision where everything ties together between two respective timelines. The back-and-forth plodding is satisfying and exceptionally edited, and for my money neither one ever feels substantially more important than the other, giving them equal value in the pacing of this case.
– Double duty for great make-up. The make-up work for the film are subtle in design, but very much effective in the desired impacts that the script calls for. I say double duty because they accomplish brutality and aging equally remarkable, and make the immersion for a story that takes place over sixteen years feel that much more seamless because of it. Kidman’s decaying facials deserve academy recognition by themselves, but it’s in the consistency of the cuts and bruising between long takes of the film where I tip my hat the highest, because they blossomed, dried, and scarred very much in the way that they rightfully should. Make-up isn’t something that I usually commend a film for, but the nuanced prosthetics made for such impressive returns that I would be doing a disservice if I didn’t commend the production for them.
– To capitalize further on the human aspect of the film, Erin is anything but a superhuman presence, and Kidman as a whole takes a physical beatdown every step of the way. This helps make the aging process of the make-up feel that much more synthetic, because Erin is slower, weaker, and especially less resistant in the current day narrative, and it all plays into the urgency of these rare conflict scenes, as we realize we’re following an officer whose best days are clearly behind her. Fractured protagonists are a delicate thing to possess in a movie, and can become cliche if they are not handled properly. But the performance of Kidman combined with the focus of some devastating blows, adds grave weight to the concepts of time, constructing Erin in a race against the proverbial clock that is undefeated against us.
– One spell-binding scene. In a movie containing two high-speed chase sequences, two bank robberies, and an endless array of ammunition, the scene that stuck the most with me is a Mother/Daughter confrontation at a diner that feels like a long time coming. This speaks volumes once again to the humanity that Kusama instills to the project, but even more than that captures a slate being wiped clean by two women, one coming up in the world and one coming out, that transcends space and time in a way where everything else around them is paused to the importance that is front-and-center. While this scene didn’t bring me to tears, there’s enough dramatic pulse in the rock-swallowing delivery of Kidman, as well as the series of revelations that are brought to the table that allow each of them to see the other in remarkably different light than previously established. It’s almost a warning of sorts from the woman who has lived that lifestyle to the girl who is heading in that direction, marking a crossing of paths that hits closer to home than these cop dramas are typically capable of.
– Dumbed down transition sequences. I almost took away two points for this aspect because the rest of the film surrounding it is so smart and non-linear, but deep in the middle are these awful sequences of reminder that reward audiences who aren’t paying attention. When a character is shown in the present day narrative, the film will flash-back to them in the past narrative, cementing who they are and why they’re important to the scene. Of course, if you’re paying attention to the movie this whole time, you won’t need to be reminded so damn frequently of things that you already know, and after the fourth or fifth time I was yelling “ENOUGH!!!” at the screen. It slowed down the progress of the story so unnecessarily, and I wish the editors had slightly more respect for the audience’s investment into their film.
– Anti-climatic conflict. For the entirety of this two hour film, we are building to this present day engagement between two central characters in a way that makes you beg for it once you know all of the elements. The problem comes in the form of a scene that comes and goes with so little impact or dramatic pull that it doesn’t even attempt to reward us with something remotely satisfying. I’m fine with a quick fight, but when the film doesn’t even capitalize on the tension of sixteen years apart between them, I start to wonder why this conflict was ever so pivotal to the entirety of the film to begin with. Beyond this, the remaining five minutes contain questionable imagery and sluggish conclusive storytelling that it stood out as the obvious weakness of the movie for me.
My Grade: 8/10 or B+