Mandy (2018)

While visually intoxicating and possessing an incredibly awesome soundtrack and some very good performances which fit its style, once the film ended I was left asking one very important question: is it enough?

Let me explain. Mandy, directed by Panos Cosmatos (Beyond the Black Rainbow) is a visual and audible feast. My eyes and ears could not resist what was in front of me, which made the somewhat overly long first half of the film quite bearable. The film is just over two-hours in runtime, but really should not be. However, within the style and visual experience, I deemed the length issue forgivable. I watched and enjoyed a rather predictable story unfold. Even with all its weirdness, the storyline is quite formulaic and basically is the plot of ‘just another vengeance film’ – man and woman are in love… they are each other’s universe… someone sees the woman and wants her for himself… she refuses… gang brutally attacks… man avenges violently. Pretty standard.

Thing is, Costmatos gives us a slightly different experience by adding strange and surreal details and psychedelic visual mastery to this ordinary storyline. The biker henchmen are a melding of the cenobites from Hellraiser and the baddies in Mad Max. The cult leader is reminiscent of both James Morrison and Luther (David Patrick Kelly) from 1979’s The Warriors. As has been said in many reviews before this one, this film looks like a 1980’s Heavy Metal concept album come to life. So much about this movie is interesting and cool, yet I kept coming back to that question: is it enough?

The amazing soundtrack by the late Johann Johannsson (Prisoners, Sicario, Arrival) inhabits the film like an inseparable character that makes the whole thing work. The opening song, Starless by King Crimson (from memory the only track, or one of two, with lyrics in the film), sets the early retro tone to be overtaken by Johannsson’s music and hypnotize us into this journey.

Nicolas Cage as Red, is let loose to do his thing here and comes back with a very credible performance which suits the style of the film. He really runs the gamut of human emotion here and comes out favourably. Andrea Riseborough (Brighton Rock, Shadow Dancer, Oblivion, Hidden) puts in an eerie and dark performance as Mandy, though her character leaves many things unexplained. Linus Roache (The Chronicles of Riddick, Division 19, TV’s Vikings) is captivating as Jeremiah Sand, the cult leader, and in my mind steals the show somewhat. There are also a couple of pleasantly surprising cameos from Bill Duke (Commando, Predator, Payback, American Satan) and Richard Brake (Hannibal Rising, Outpost, Halloween II [2009], The Cannibal in the Jungle, 31, Perfect Skin), which also enhance the film.

However, overall, once the viewing experience ended, I was left scratching my head as to what it was I just watched. Was it really a good film or a two-hour long rock music video? Was it all just smoke and mirrors or is Cosmatos an artistic visionary on his way to being recognized as one of the finest in his field?

I came to the conclusion that the answer lies somewhere in between. While the film is a fiesta for the eyes and ears, there really isn’t much behind the curtain. The script is largely unoriginal and in some spots just plain odd (For example, what was the reason for Jeremiah wanting Mandy oh so badly? How did Red’s injury miraculously heal so quickly?). Story-wise, it really is just another vengeance film in a different, albeit trippy, outfit. Some areas could have easily been explored further. While the outfit is beautiful, it probably isn’t quite enough for me, though I know a lot of people love this film. I guess you’ll just have to see it and decide for yourselves.

Beautiful yet somewhat empty, 6.5/10.