During its first 10 minutes, “Elizabeth Harvest” is so tediously mannered, and lead player Abbey Lee’s performance is so listlessly affected, that an urge to bail is well-nigh irresistible. But then writer-director Sebastian Gutierrez pulls the rug and the floorboards right out from under you, and his impudently oddball gothic sci-fi melodrama lurches into a different groove. The disorienting impact of this early shock, coupled with the zig-zaggy progression of the time-tripping narrative, goes a long way toward distracting from a fairly conventional premise that ultimately asserts itself above all the flash and filigree. Indeed, you could describe the entire movie as an elaborate con job — and intend that appraisal as a compliment.
With the invaluable assistance of cinematographer Cale Finot, who precisely hits the sweet spot between futuristic sterility and rococo stylization, Gutierrez gives us a contemporary reimagining of the “Bluebeard” mythos set in the isolated mountain estate of a zillionaire research scientist.
With the invaluable assistance of cinematographer Cale Finot, who precisely hits the sweet spot between futuristic sterility and rococo stylization, Gutierrez gives us a contemporary reimagining of the “Bluebeard” mythos set in the isolated mountain estate of a zillionaire research scientist.
- 3/27/2018
- by Joe Leydon
- Variety - Film News
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