“I was most excited for you to come.”

Tackling some similar themes that his debut inspected, Ari Aster’s newest vision is a hypnotic triumph. The mysterious and beautiful songs of Sweden ringing though the theater as a bright sun refuses to dim; a true nightmare has been unleashed. In what works more as a tale of grief and commitment more so than a true horror film Midsommar has an “unclouded” view. The beauty in the gruesome turns skin-curling terror into a fairytale-like facade covered in ancestral pantings. The structure of Midsommar truly shines as once the tipping point had commenced you completely forgot about the previous minutes gone by; completely entranced into the festivities.

The choice to stray from the boilerplate dark and foreboding color palette made the horror into something of its own, and while I didn’t find really any aspect to be particularly fighting it conceived a rarely achieved unconventional sense of dread. The bright European sky was just as effective as a haunted house.

The camera almost feels like a character of its own perturbing and flying of its own will. Just when you feel comfortable and that you’ve found you’re footing it sweeps the flowers from beneath you. 

My only major grievance with Ari Aster’s sophomore feature is it’s approach. It has a pompous self-indulgence to it at times making it so hard to feel involved; often pushing the narrative that it’s more profound than it is. 

Would Recommend!

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