Nocturnal Animals Movie Review

Nocturnal Animals Movie Review


Nocturnal Animals Movie Video Review

Storyline: A “story inside a story,” in which the first part follows a woman named Susan who receives a book manuscript from her ex-husband, a man whom she left 20 years earlier, asking for her opinion. The second element follows the actual manuscript, called “Nocturnal Animals,” which revolves around a man whose family vacation turns violent and deadly. It also continues to follow the story of Susan, who finds herself recalling her first marriage and confronting some dark truths about herself. Written by IMDB

Nocturnal Animals Movie Video Review 2

Summary: Nocturnal Animals is a 2016 American neo-noir psychological thriller film written, co-produced, and directed by Tom Ford, based on the 1993 novel Tony and Susan by Austin Wright. The film stars an ensemble cast featuring Amy Adams, Jake Gyllenhaal, Michael Shannon, Aaron Taylor-Johnson, Isla Fisher, Armie Hammer, Laura Linney, Andrea Riseborough, and Michael Sheen. Principal photography began on October 5, 2015 in Los Angeles, California.

It was selected to compete for the Golden Lion at the 73rd Venice International Film Festival, where it won the Grand Jury Prize. The film is scheduled to be released in America on November 23, 2016, by Focus Features. Written by Wikipedia

– Donate me via Paypal:

Critic Reviews

100 The Hollywood Reporter | David Rooney
Confidently dovetailing three strands that depict present and past reality, as well as a dark fictional detour that functions as a blunt real-life rebuke, the film once again demonstrates that Ford is both an intoxicating sensualist and an accomplished storyteller, with as fine an eye for character detail as he has for color and composition. Read full review

100 The Guardian | Peter Bradshaw
Some of the scenes in the LA art world are a bit broad. But this is a terrifically absorbing thriller with that vodka-kick of pure malice. Read full review

91 The Film Stage | Rory O’Connor
With everything going on, Nocturnal Animals is the sort of narrative and tonal minefield that a lesser director could easily have gotten lost in. Ford allows us to consider and cherish each unique thread and wonder just how it could all possibly come together. Read full review

91 Indiewire | Ben Croll
Nocturnal Animals is an impressively ambitious effort, one part mean Texas thriller, one part middle-age melodrama, and makes for a meta-textual riddle that is almost as pleasurable to reflect on as it to actually watch. Read full review

90 We Got This Covered | Darren Ruecker
Nocturnal Animals confirms Tom Ford as an essential director, as he gives us two dazzling stories that combine for one powerful movie experience. Read full review

90 Variety | Owen Gleiberman
Ford is a true moviemaker — a social observer who’s a junkie for sensation and narrative. He has structured Nocturnal Animals beautifully, so that the past feeds into the present, and fiction into reality. Read full review

88 ReelViews | James Berardinelli
Nocturnal Animals employs one of the most inventive uses of neo noir tropes and techniques I have seen in recent years. Intense, insightful, and strangely powerful, Tom Ford’s adaptation of Austin Wright’s novel, Tony and Susan, assumes an intelligent audience. Read full review

88 Rolling Stone | Peter Travers
Ford hits it out of the park again in Nocturnal Animals, a stunning film noir that resonates with ghostly, poetic terror. Read full review

85 TheWrap | Alonso Duralde
Nocturnal Animals packs a real punch and confirms that “A Single Man” was no fluke. Read full review

83 Entertainment Weekly | Leah Greenblatt
The movie’s lofty narrative ambitions never quite catch up with its aesthetics, but it’s still a fantastic beast of a film, intoxicating and strange. Read full review

80 Village Voice | Bilge Ebiri
Ford has given us a surprisingly candid peek into the creative process, into the strange little hurts — perceived or real, toxic or justified — that make up the soul of an artist. No, we may not like what we find in there. But I’m not sure he does, either. Read full review

80 Los Angeles Times | Justin Chang
The writer-director invests a tricky narrative juggling act with an intensity of human feeling that is the opposite of skin-deep. He tears through the veil of slick, self-admiring style that has both unlocked and at times obscured his very real merits as an artist. Read full review

80 New York Daily News | Stephen Whitty
It sounds a little too clever, but it’s not. It’s just clever enough. Read full review

80 Empire | Will Lawrence
Ford’s artfully composed and emotionally clever noir is well-paced and, in stark contrast to the naked flesh that opens the film, never, ever sags. Read full review

80 Total Film | Kevin Harley
Style is substance in Ford’s second film. Unlike many puzzle-piece movies, it thrills on every level. Read full review

80 The Telegraph | Robbie Collin
Everything that works in Nocturnal Animals is intoxicating, provocative, delicious – and happily, so is everything that doesn’t. Read full review

75 The A.V. Club | Ignatiy Vishnevetsky
Like Ford’s debut, Nocturnal Animals treats film as a medium of luxury, where the emotive and the self-indulgent cross paths. He is primarily a sensualist. Read full review

75 Washington Post | Michael O’Sullivan
It’s a tale bluntly told that arouses intense, evanescent emotion and then leaves you haunted, long afterward, by provocative but arguably answerable questions. Read full review

75 USA Today | Brian Truitt
From the bizarre opening (featuring a plethora of naked obese women) to the film’s parallel narratives conceit, there’s no shortage of style, though incoherence butts in from time to time. Read full review

75 San Francisco Chronicle | Mick LaSalle
There’s a mood, a feeling about life, that pervades Nocturnal Animals, one that’s expressed in visual terms. Read full review

75 New York Post | Kyle Smith
I’d love to tell you Tom Ford’s Nocturnal Animals is a cinematic masterpiece, and for most of its running time, that’s what I was planning to do. You must see it. But a great movie requires a great ending, and Nocturnal Animals doesn’t have one. Read full review

75 The Playlist | Jessica Kiang
Ford’s attempt to synthesize the two halves of his film into a coherent whole is what sells it all short. Read full review

70 Screen International | Fionnuala Halligan
As a screenwriter, Ford has made some brave choices in a difficult, complex adaptation. As a director, though, he veers between delivering far too much, and yet not quite enough. Read full review

67 Austin Chronicle | Marc Savlov
It’s a narratively audacious, ultra-stylish, and at times queasily violent film that’s likely to polarize audiences even as they find themselves unable to tear their eyes from the screen. Read full review

63 Boston Globe | Ty Burr
I don’t mean it as a cheap shot, but Nocturnal Animals is very like an exquisitely rendered window display. It’s something at which you pause and peer into and catch your breath — and then move on. Read full review

63 Slant Magazine | Jesse Cataldo
Nocturnal Animals gets close to a double-barreled satirical thriller commenting on the historic rift between city and country. Read full review

60 The New York Times | Manohla Dargis
There’s much to admire in Nocturnal Animals, including Mr. Ford’s ambition, but too often it feels like the work of an observant student. Read full review

60 Arizona Republic | Bill Goodykoontz
There’s a story within a story here, one more compelling and relatable than the other. Perhaps that’s by design. But even if that’s the case, it doesn’t mean the two parts co-exist comfortably, no matter what the intent. Read full review

60 Time | Stephanie Zacharek
As shot by the gifted cinematographer Seamus McGarvey, Nocturnal Animals is beautiful—or at least arresting—every minute, and it sure isn’t boring. But it’s unclear exactly what Ford is trying to say, though it’s clear he’s trying hard to say something. And that’s the most frustrating thing about this picture. Read full review

60 ScreenCrush | Erin Whitney
Nocturnal Animals doesn’t have much substance, but its dazzling style is hard to completely resist. Read full review

60 CineVue | John Bleasdale
It’s gorgeous, lush and fun, but there’s an underlying silliness to the endeavour which, despite occasional archness, constantly threatens to trivialise events. Read full review

50 Chicago Sun-Times | Richard Roeper
This is a bloodless, cold, self-congratulatory exercise in style for style’s sake. Read full review

50 New York Observer Rex Reed
The juxtaposition of tone, theme and content in the narratives fails beyond the basic ideas. This leaves the capable Gyllenhaal to do little more than scream and rant hysterically. Read full review

50 Miami Herald | Rene Rodriguez
The actors all suffer beautifully, but their pain doesn’t register: It’s all affectations and red-rimmed eyes. Read full review

50 Movie Nation | Roger Moore
The terrible, only-happens-in-the-movies crime and his character’s investigation of it are all that animate these “Nocturnal Creatures.” Read full review

50 Consequence of Sound | Sarah Kurchak
Lofty ideas of class, thwarted ambition, the superficiality of L.A. life, the nature of love, and the meaning of art are all explicitly addressed – and maybe discussed in a pretentious conversation or two – and then just as easily dropped, as if the simple act of naming themes is enough to establish their continued relevance in the film. Read full review

40 The New Yorker | Anthony Lane
I felt sorry for Gyllenhaal, berated in both his personae for being weak, and for Adams, strapped and laced into a role that scarcely lets her breathe. Read full review

40 Time Out London | Dave Calhoun
It’s the fashion designer’s second movie after his 2009 debut A Single Man, and this is a far more ambitious film, with its sprawling cast, various periods, layered storytelling and musings on life and art. But it’s also far less endearing and coherent, and feels almost unbearably cruel and cynical. Read full review

38 The Globe and Mail (Toronto) | Barry Hertz
When you combine the megawattage of Gyllenhaal and Adams with Ford’s directorial … well, “prowess” would be too strong a word, so let’s go with “vision.” So, when you combine those two actors with Ford’s vision, what you get is a ridiculous, high-camp mess that could easily be mistaken for substance, if it weren’t so irredeemably silly. Read full review

Critic Reviews Credit by:

Official Sites: Official Facebook, IMDBWikipedia
Country: USA
Language: English
Release Date: 9 December 2016 (USA)
Genres: Drama | Thriller
Runtime: 117 min
Production: Fade to Black Productions, Focus Features, Universal Pictures
Filming Locations: Los Angeles, California, USA
Budget: $22,500,000 (estimated)

Director Credit
Tom Ford Director


Writer Credit
Austin Wright Based On The Novel “Tony And Susan” By
Tom Ford Screenplay By


Principal Cast Credit
Aaron Taylor-Johnson Ray Marcus
Amy Adams Susan Morrow
Isla Fisher Laura Hastings
Jake Gyllenhaal Tony Hastings/Edward Sheffield
Michael Shannon Bobby Andes


Cast Credit
Aaron Taylor-Johnson Ray Marcus
Amanda Fields Art Gallery Guest
Amy Adams Susan Morrow
Andrea Riseborough Alessia
Armie Hammer Walker Morrow
Celeste Octavia Super Model
Ellie Bamber India Hastings
Franco Vega Driver
Imogen Waterhouse Chloe
India Menuez Samantha Morrow
Isla Fisher Laura Hastings
Jack Wallace Old Man
Jake Gyllenhaal Tony Hastings/Edward Sheffield
Karl Glusman Lou
Kim Basinger Anne Sutton
Kristin Bauer Cast
Laura Linney Anne Sutton
Maria Zyrianova Blonde Woman
Michael Shannon Bobby Andes
Michael Sheen Carlos
Neil Jackson Christopher
Nick Hounslow Party Attendee
Robert Aramayo Turk


Producer Credit
Alexandra Nourafchan Associate Producer
Diane L. Sabatini Co-Producer
Mark Harris Line Producer: 2nd Unit
Robert Salerno Producer
Tom Ford Producer


Music Credit
Abel Korzeniowski Music

Related Post

Leave A Comment