Panos Cosmatos | 121 mins | download (HD) | 2.39:1 | USA, UK & Belgium / English | 18
Words feel inadequate to describe Mandy, the sophomore feature from writer-director Panos Cosmatos, the son of George P. Cosmatos, who directed the likes of Rambo: First Blood Part II and Tombstone — films which are not helpful comparisons here, I hasten to add. You could call Mandy an action movie, of a sort, but it’s unlike either of those. It’s not like a whole lot else, really.
Let’s start with the plot. I’m not sure Cosmatos did, but we will. Set in the mid ’80s, it centres around Red Miller (Nicolas Cage) and his girlfriend Mandy Bloom (Andrea Riseborough), who live happily in the back of beyond somewhere in the United States. One day a group of Christian cultists happen to drive past Mandy, and their leader, Jeremiah Sand (Linus Roache), takes a shine to her. With the aid of a demonic biker gang, Sand and co accost Red and Mandy for some nefarious cult-ish purpose. Naturally it does not end well, sending Red on a nightmarishly surreal journey of revenge.
I said Mandy could be considered an action movie, which is true: Red’s revenge naturally leads to some violence, which in this case often come at the end of fights. But if you come just for the action you’re liable to leave unsatisfied, because Cosmatos definitely makes you wait for it. Some of it does satisfy on a visceral, B-movie level (there’s a showdown in a quarry I shan’t spoil by detailing), but its purpose is not to revel in combat.
Rather, it is very much a horror movie. Not in terms of the obvious connotations of the genre — there’s no supernaturally-powered serial killer, no vampires or werewolves, no jump scares — but in the unnerving atmosphere the film sets out to create. This is what I meant when I said I’m not sure Cosmatos started with the plot: there’s a definite story here, and characters and emotional arcs within that too, but the primary goal seems to be the mood that’s generated and the feelings that instills in the viewer. It’s possible Cosmatos may have bigger ideas on his mind beyond that — some reviewers seem obsessed with the notion that the film wants to explore philosophical concepts but doesn’t do it very well. Perhaps they’re right. I didn’t see it that way, however, taking the whole affair as simply an inescapable dive into a fever dream nightmare experience, where the aesthetics and the sensations they create are the point.
Certainly, a good many elements are on board with this twisted perspective. The performances are certainly in the right space, with Nic Cage going full Nic Cage as he travels deeper into the nightmare, the impact of his barminess emphasised by him being fairly normal at the start. As the cult-leading big bad, Roache steps up to the plate of trying to equal Cage’s insanity, and I’d say he gets there — an impressive feat. Around them, Cosmatos lets thing unfurl at a leisurely, dreamlike pace. Some will say it’s too slow and succumb to boredom, but I think it’s very deliberate — though I will certainly allow that it does go too far in this regard at some points.
Further to that, he blends in a lot of surreal and fantasy-inspired imagery and visual flourishes, with Benjamin Loeb’s photography often pushing into extremes of colour (lots and lots of red), lens flare (so much more effectively than anything J.J. Abrams has ever been responsible for), and a deliberately-created haziness that, once again, the best descriptor for is “dreamlike”. That said, the shot-on-film, pushed-to-extreme aesthetic also helps evoke low-budget ’80s fantasy/horror films, in a kind of race-memory way — I couldn’t give you specific examples of what films I feel it’s emulating, but there’s something about the overall style that gives that vibe. Jóhann Jóhannsson’s eerie score also hits those same beats, in terms of both the era recreated and the film’s own unsettled atmosphere.
Mandy is today’s premiere on Sky Cinema, which feels like an ill fit to me. Maybe I’m being unfair, but I always feel like Sky Cinema (and by extension its viewer base) is much more focused around mainstream blockbuster kind of movies, especially for a Saturday premiere. Instead, it feels like Mandy should be making its TV debut on Film4 at about 11pm in the middle of the week (I won’t be surprised if that’s where it ends up getting its first network TV airing). I can see some tuning in expecting a violent revenge action-thriller and giving up after a few minutes of its particular weirdness. For those on its wavelength, however, it’s an experience (and it’s definitely an experience) that’s thrilling in a very different way.
Mandy is available on Sky Cinema from today.
It placed 11th on my list of The 15 Best Films I Saw For the First Time in 2019.
100Films.co.uk 
I think a huge part of this films mood is derived from Johansson’s score. It’s difficult to describe it as music (although it does have lyrical, poetic sections) but it does demonstrate his gift for scoring films, in that he had an uncanny sense of how sound functions to elevate a film whether it be melody, ambience, drone, whatever. I am still intrigued by the great unknown that was his BR2049 score. I’m pretty sure his score being dropped was a desperate token effort to ‘fix’ the film when it became clear it was too intense to be mainstream Cineplex fodder. I think they should have held their nerve, but just hope we get to hear it someday. Unlikely but you never know.
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It would be interesting to hear it. You never know with these things, how some never-possible things have come together years or even decades later (the Donner cut of Superman II, etc). Maybe if we do end up in a world where Criterion/Arrow/MoC/etc are the only people releasing physical media Special Editions of certain films, they’ll be able to acquire it someday. A possible bright spot in that otherwise bleak future!
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