Susan was terrible, remains terrible, and gets her comeuppance. Characters have to have an arc to be engaging. Shes a heartless villain of comic proportions who wont even try to justify her own actions and instead just tearfully acknowledges that shes a garbage person who will one day pay for her sins.Īnd happens? Well, Edward writes her a thinly veiled allegory for their marriage, emotionally torturing her before standing her up for a meeting.Ĭompound the problem of the comically heroic Edward and the comically horrible Susan is that neither had an arc. The intensely complex issue of the abortion is handled with the nuance of a freight train. Then we have the bizarre abortion scene where instead of allowing Susan to deliver even a single line presenting her side of the story she immediately breaks down into tears saying shes made a terrible mistake. Susan cheats then dumps him, admitting that hes too nice for her. Susan belittles Edward's writing and person in an abusively dismissive manner while Edward pleads for a modicum of kindness We see very little of their relationship, but what we see is that Edward is as cartoonishly heroic, as Susan is cartoonishly vile.Įdward is effortlessly kind and charming and genuine and sweet towards Susan who can respond with nothing of substance and instead literally blurts out fuck me I'm a slut.
#Nocturnal animals ending death movie#
Instead, Nocurnal Animals delivers some of the most one dimensional characters I have ever seen in a movie aspiring to be art. What I'm saying is this plot could have delivered us textured and nuanced characters who were neither wholly good or wholly bad. Is it fair to not want a child with the man you're leaving? Do you need to tell him? Did he do anything to lead to this? Could he have done things differently? Could she? Most importantly you have an extremely nuanced issue to explore with having an abortion as a marriage ends. Is one necessarily better than the other? Can a passive person wind up being emotionally manipulative? Does the aggressive person need tempering? You've got stories about the clash between one partner who is a little more "driven" and the other who is a little more passive. Does each partner make the other feel somewhat ashamed of their background in different ways? There are stories to tell about two people coming from different stations in life trying to make it work. Their marriage breaks down, she leaves him for another man more of her "station" and she aborts their baby on the way out. You've got a brilliant ambitious debutant who winds up in a doomed-to-fail, too-quick marriage with the sensitive, soft boy next door. And one dimensional revenge porn really only works if it owns its nature. It was one dimensional revenge porn pretending to be something else.
This should be taught in film school as an example of where one dimensional characters undermine a plot to the point that it is no longer a "story" and is more akin to porn.
I think it may be one of the single worst films I've ever seen. I didnt much care for it, but I can certainly understand why some people might, and I can see why critics praised it.īut once in awhile there comes a movie that is such unadulterated garbage that you become sincerely confused that anyone could have enjoyed it.įor me, Nocturnal Animals was that film. Hell or High Water would be a good recent example. There have been plenty of times that I didnt care for a movie that was universally praised, but I can certainly see why people might like it, or that I could have a particular slant. So, it's not uncommon that any film lover disagrees with the general consensus on a film.
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