Take Shelter Reviews

In general, movies of fantasy genre try to make believable a incredible situation. With "Take Shelter" is exactly the opposite.

Nichols, his young director, wants to play too many sticks in a ridiculous grandstanding exercise as hollow as his tornadoes. The film is halfway around without reaching any definition without understanding their proposals. The birds that appear... homage to Hitchcock? ahahahah... It is true that, at times, the action reminds Night Shyamalan cinema, but the worst (The Village, Lady in the Water...); particularly, reminded me sequences of "Kairo" ("Pulse"), of another one actual "genius", Kiyoshi Kurosawa, especially the end.

And its end, how could it be otherwise, opts for premonition and left me more empty than the beach that serves as the stage. Bluff.

Since I kept hearing good things about this flick, I was quite eager to check it out. Well, I wasn’t disappointed and I’m glad I knew very little about it beforehand which is the best way to watch any movie in my opinion. Basically, it is a heartbreaking drama and a nail-biting thriller at the same time and, even though not much really happen during the whole thing, it was quite spellbinding to watch. Indeed, in the contrary to most of the US thrillers which go for the cheap thrills without much consistency, here, the story and the characters evolved organically which was a really refreshing approach. It was the first movie directed by Jeff Nichols that I have seen so far and he seems to be one of the most interesting American directors at work nowadays and I will definitely check his other movies when I get the opportunity. Of course, Michael Shannon should get some credit as well and he is definitely something else than your usual pretty faces, an intense actor who is finally getting some recognition. As you can see, even though I really enjoyed this movie, my rating is rather low which had to do mostly with the ending. Indeed, even though the movie was obviously about mental illness, Jeff Nichols pulled a ‘Breaking the Waves’ conclusion on us as he gives a rather enigmatic last scene which migh suggest that the main character might have been some kind of visionary after all. In my opinion, it either contradicted the whole thing or I missed the whole point. Still, in spite of this conclusion, it remains a very strong feature and it is definitely worth a look.

One of the very few films to blow me away. Utterly compelling and so so well made. Contains one of the most underrated performances of 2011. Stunning, absolutely stunning.

You know those movies that from the beginning to the end convey a stifling atmosphere?
Well, that was the feeling I had when I watched this movie, I even change my opinion about the protagonist (Michael Shannon) who is an actor that I never sympathized much in films (apart from the series Boardwalk Empire).
Anyway worth watching, the ending was exactly what I imagined.

You can consider everything here a spoiler. Most isn´t but if you read this before you watch it you´ll may regret it. You are advised.

Now the review:

Storytelling is an art that shouldn't be forgotten, it's more than just scripting some dialogue and action shots. A movie like this is full of tricks but they all feel great and work better and that's really difficult. The secret is in the really slow tension building and the magnificent acting.

You can watch this movie as a believer, a disbeliever or a kid. The first will be watching a fantasy prophecy complex movie, the second will be watching a bigger than life psychodrama, the last one will be just enjoying everything that happens in the screen as it comes. Everyone will feel great in the end: goosebumps and stupid smiles guaranteed.

To get everybody thrilled. That's not easy. This is a movie that pushes the spectator so he doesn't know what to expect. ¿Will it be all the product of a mental illness or will he be a prophet? ¿Will he do something awful because of his experiences or everything will work alright? When the first ending comes the ones who wanted a complex and tense mental issues situation will be satisfied, but the other ones perhaps not so much. Probably they will feel good enough with it, but there will still be a 'but'. Then comes the second ending and everyone will feel satisfied and fascinated, even the ones who weren't expecting it because they probably wanted to believe anyway.

This is also an actor's movie. Nothing of all that I have exposed until now would care if it weren't defended by a good actor. Michael Shannon gives everything he has inside and shows everyone that he is so much more than 'that guy from Boardwalk Empire' or support for diCaprio. This was his greatest opportunity to defend his career, a one-in-a-time opportunity to go to the next level or, at least, get the praise he deserves, and he nails it. He even has the look for the part.

Jessica Chastain is limited by his character. It's an important and great character, but it's not meant to be so real as lovable. Her character is a caring woman and a good wife, without being overly stupid, and when the time comes for it she shows that she can act way more than alright. This just wasn't her movie to shine in. It's great when the 'wife' is more than just a person who is there to make everyone feel bad. She is here to bring tension, true, but also to show how a family sticks together. I know it has also some old fashioned values in the mix, but the thing is that you can see the love through acts not just words.

The cinematography is gorgeous and schizophrenic. It's simple, blindingly clear and distant when the story asks for it and intense, cloudy and close when needed. The camera work blends magnificently with the script, directing and magic of Jeff Nichols. He brings a number of characters in the mix to add spice to the cooking he is brewing. The mother, the brother, the boss, the friend... they all serve to distract you while he digs the foundations of the tension that will build up in the end. All of the secondary plots (the money issues, the work problems, the daughter's deafness, the family history) are good by themselves, but aren't directly related to the main issue, they're just tricks used with reason and restrain.

The dramatism of this movie is full of tricks and red herrings, but you won't care a bit. All are used with the best of intentions and all work nicely to keep you hooked. The only dark point is that it will probably don't work so good with a second view. After the first watch, all the mirrors will be exposed and you will only have a great pair of actors working a great pair of characters... OK, that can't be so bad.

In the end it's a movie you won't forget. Can you say it of many other?

"It's hard to explain, because it's not just a dream. It's a feeling."

Take Shelter is further proof that independent motion pictures are one of the most reliable sources of excellence in today's unstable cinematic climate. Rather than an in-your-face thriller reliant on big special effects, Take Shelter is a quietly involving, harrowing drama with a lot on its mind. The movie meditates on the nature of dreams and faith, explores the way that fear, anger and paranoia can effect one's mental health, magnificently captures today's shaky economic conditions, and even has a few things to say about climate change. Added to this, writer-director Jeff Nichols is a superlative storyteller, and the film spotlights an exceptional leading performance courtesy of Michael Shannon.

Set in the Midwest, construction worker Curtis (Shannon) is largely living the American dream - he has a steady job, and he's fathering a daughter (Stewart) with his beautiful, loving wife Samantha (Chastain). However, Curtis begins enduring apocalyptic dreams of storms, tornadoes and faceless strangers trying to abduct his daughter. As these dreams/visions start seeping into his daytime activities, Curtis grows unsure as to whether he's slowly going mad or having genuine premonitions. While secretly seeking medical help, Curtis also becomes obsessed with the storm shelter in his backyard, spending thousands of dollars the family doesn't even have to expand and improve it. With Curtis' actions growing more erratic, he starts to alienate his family and friends. Nevertheless, Curtis is determined to work to prevent the catastrophic doomsday scenarios brewing inside of his mind.

At face value, Take Shelter seems like a psychological thriller with disaster film overtones, yet the movie is far more substantive and thoughtful - it's predominantly a portrait of developing madness which contains a few terrifying disaster theatrics to assist this agenda. In a sense, Nichols' movie has a certain M. Night Shyamalan quality to it, as it possesses the same cadence and spirit of something like 2002's Signs. Not to mention, Nichols' storytelling relies on mounting intensity and the unpredictability of coming events. Perhaps what's most interesting about Take Shelter is that it's not exactly about whether or not Curtis is mad, but rather about how Curtis must come to terms with what's happening to him.

From minute one, Nichols places us into the head of Curtis, allowing us to experience his chilling visions alongside the confused protagonist. We can understand the anxiety that Curtis endures as he receives scorn and scowling from the community while working to do what he believes is right, no matter the cost (financial or otherwise). Also commendable is the script's treatment of Curtis - he's not just a crazy person but a genuinely scared and confused family man. Thus, he tries to hide his problems from his wife and secretively seeks help (he even visits his mother who was diagnosed with schizophrenia at his age, and borrows a book about mental illness from the library) as he works on the tornado shelter to address every possible meaning behind his harrowing dreams. Take Shelter is, indeed, a terrific demonstration of a character-driven narrative.

It may be a low-budget indie, but Take Shelter possesses utterly gorgeous visuals. Adam Stone's cinematography skilfully captures the beautiful natural landscapes and the dream sequences are magnificently atmospheric, with seamless digital effects resulting in a number of surreal, scary images that'll remain embedded in your mind for days. Also effective is David Wingo's low-key score; it's well-judged and effective, and it perfectly matches the happenings on-screen. However, while Nichols' direction for the most part makes for compelling viewing, the movie at times feels overdrawn. For instance, an extended scene of Samantha pleading with Curtis in the tornado shelter is prolonged to melodramatic proportions, and will probably leave you confused rather than intrigued about what will happen next.

Michael Shannon received an Oscar nomination for his performance in Revolutionary Road, and is highly regarded for his work on Boardwalk Empire. Believe it: Shannon deserves to be a leading man, as his performance here is remarkable from top to bottom. He's the kind of actor able to express pages of dialogue with merely a look, and convey subtle changes in mood and awareness in a way that veteran actors can only dream of. Best of all, Shannon gives Curtis genuine three-dimensionality. There's never a moment in the film in which Shannon feels false or unbelievable, and the fact that he didn't earn an Oscar nomination is one of the worst oversights in recent memory. Likewise, Jessica Chastain (who received an Oscar nomination for The Help) is fantastic as Samantha. Not just a one-note harpy constantly yelling at her husband, Chastain plays the role as someone who loves Curtis and is willing to adapt to the worst of conditions. The steadiness she emanates serves to make Curtis look all the more erratic.

Take Shelter would've achieved dizzying heights of excellence if it were a tad tauter, but it's hard to hold too much against this remarkable film. It's full of striking imagery, and the stunning visuals are mixed with provocative themes. As the icing on top, it winds down with an ambiguous ending that defies expectation and is destined to keep movie-goers talking for a long time to come. Let the interpretations and film scholar essay writing commence...

8.5/10

"It's hard to explain, because it's not just a dream. It's a feeling."

Forget about Martha Marcy May Marlene and its impossible-to-remember title. If you're interested in watching a 2011 film that delves into the most obscure depths of a character's ostensibly paranoid mind and goes further than just TOUCHING on the difficulties experienced by someone who may or may not be losing his mind, it's as easy as saying "One for Take Shelter" at the ticket counter. This is one of the most layered, profound and wholly satisfying dramas that I've had the pleasure of experiencing this year, complete with three-dimensional characters, breathtaking performances and an absolutely masterful final 20 minutes or so. Take Shelter combines kitchen sink realism with dark psychological undertones, and manages to give all of that a slow-building sense of tension that leads to a searing, cataclysmic finale.

Curtis (Michael Shannon) and Samantha (Jessica Chastain) live in a modest house with their deaf daughter, Hannah (Tova Stewart). It quickly becomes obvious that the couple's efforts are very much concentrated on working as hard as they can to give their disadvantaged daughter the best life they possibly can (as Samantha points out, Hannah has a hard time "fitting in" with the other kids, as a result of her condition). Curtis comes across as a dedicated provider who loves his wife and daughter. But something starts happening to him. He starts having a variety of dreams, all of which involve him and Hannah being in situations in which physical harm may come to them. He sees storms and tornadoes coming. He even has a dream in which their own dog attacks them. Paranoia naturally ensues. Curtis locks the dog away and starts taking measures to build a tornado shelter. We find out that Curtis' mother had suffered from schizophrenia right around Curtis' age. Does this mean that Curtis inherited the mental condition, or is there something darker going on in the gallows of Curtis' mind?

Contrary to Martha Marcy May Marlene, this film doesn't limit itself to saying "Hey, look, the main character is paranoid and he's suffering and having a hard time dealing with this!" for 2 straight hours, without saying anything beyond that. Take Shelter is not only interested in exploiting the mystery as to where Curtis' dreams are actually coming from, but it also wants to explore the emotional impact of these dreams, and to make things better, it's a multi-layered impact. You see, the fact that Curtis starts taking extreme measures such as building a tornado shelter has devastating financial circumstances for the family (which is supposed to be saving money for an operation for little Hannah). Anyone who's dealt with financial strife and who has argued with a close friend or family member over poor money-related decisions will instantly relate to Samantha's plight here. In addition to that, though, once Curtis starts manifesting his paranoia while he's not sleeping, the emotional effect on the family becomes too much to take. One gets the feeling that Curtis may snap at any moment, and since we've come to care about both him and his two girls, there's an inevitable sense of tension and concern that something terrible may happen at any moment.

Michael Shannon gives an earth-shattering lead performance. It's the kind of work that the Oscar was made for (if, of course, Oscar wins were based more on merit than on campaigns and publicity). Shannon doesn't coast on the fact that he was given an easily exploitable Oscar-bait role. Instead, Shannon displays incredible skill at capturing all the nuances and mannerisms of someone who's not all there. This skill was already more than hinted at in 2008's Revolutionary Road, and I'm glad that someone actually took note of it and realized that it'd be a waste not to milk his skill by having him play a character as amazingly complex as Curtis. Considering the large amount of buzz surrounding newcomer Jessica Chastain this year, it's common knowledge that the Academy will reward her with a nomination - we just don't know for which movie. Sadly, if Take Shelter continues to be as under-the-radar as it has been, her nomination may not be for this film, even though (now that I've seen all four of her 2011 performances), there's no doubt in my mind that this is the film for which she should be recognized. She was appropriately angelic in The Tree of Life and equally resolute in The Debt, and she did a great job at mixing comedy with sadness in The Help, but none of these performances is on par with her extraordinary work in Take Shelter. She could've relegated herself to playing a shrewish wife, but instead, she perfectly displays her emotional conflict over wanting to help her husband overcome his mental strife, yet at the same time, protecting her daughter's livelihood. I can't imagine that there's another 2011 film lurking out there that features a more interesting, relatable and at times hard-to-watch portrait of a couple dealing with troubles of both the physical world and beyond.

Yes, there are times (especially during the first act) in which Take Shelter moves at a bit of a slow pace, but the reasoning behind the filmmakers' decision for that becomes readily apparent as the film's bone-chilling final 20 minutes get under way. We realize that it was absolutely necessary to start off with a quiet sense of dread in order to escalate into a finale as monumentally devastating as this. We've seen dozens of movie characters in scenes in which they're getting ready to physically open a door, but they're unsure as to whether or not they should do it. Horror movies do this all the time, and they often use it as a cheap gimmick more than anything else. Take Shelter goes in the opposite direction of that. It's the most suspenseful moment I've sat through in a theater this year, and it's made a million times better by the fact that it's so emotionally-charged and by the potential consequences of what may (or may not) be behind that door. The film's final scene is an absolute beauty. And as I watched Chastain's face during the movie's last moments, I couldn't help but think: "This is the type of film that The Tree of Life should've been." That's because Take Shelter isn't artsy for the sake of being artsy, and it doesn't limit itself to a glossed-over, superficial analysis of family dynamics and emotional difficulties. It digs deeply into all of those issues, and makes them concrete and palpable, which in turn, makes audience members be able to relate to them very strongly. Add two of the most passionate and heartfelt performances of the year, with Shannon's turn capturing madness and brokenness better than any actor in recent memory, and you've got one of the finest dramas of the year.