Nocturno

The second of Amazon's Blumhouse collaborations I watched was "Nocturne", a debut feature from writer/director Zu Quirke which, not unlike "Black Box" eschews conventional horror, this time for more of a psychological thriller.

Juliet (Sydney Sweeney) lives under the shadow of her twin sister Vivian (Madison Iseman). Though both are talented pianists, Juliet's demeanour means that Vivian is graduating to Julliard but she is not. Moira (Ji Eun Hwang), their current schools most gifted student, takes her own life, which means the final concerts solo is vacant. Vivian seems the natural person to claim it, until Juliet finds Moira's notebook, a cryptic and dark series of notes, markings and illustrations. The book has an effect on Juliet, increasing her confidence, but how far is she willing to go to claim that solo.

As with "Black Box" I feel that there's lots to admire with this film, but little to love. It does feel like a budget version of "Black Swan", with its story of pressure are the higher end of artistic achievement. The performances from the two leads, Iselman and Sweeney, are really good. Art direction and cinematherapy are decent, the effects - such as they are - aren't bad - though it does help that they often aren't looking for realism, rather part of a fantastic dream type sequence. I do feel like I'm prepared to give the film a whole point for the final shot (to say anything more is a bit too spoilery).

But plot wise it's a bit too humdrum and predictable. You'll be well in advance of Juliet in terms of what is happening and you'll probably see the ending coming a mile off. There are a couple of minor twists that the film doesn't do a great job of disguising and it's all just a little too flat, and lacking in originality and invention to recommend it as worthwhile.

Negatives ultimately outweighed the positives for me, but at least there were positives.

I liked this one a lot more than I thought I was going to. I am a little surprised at the 5.7 rating as I am giving it a 7 no normally it's the other way around. Maybe people were expecting a little bit more classic horror, but I felt it had a very atmospheric, creepy vibe throughout that served up a solid, new age horror vibe.

I thought the story wasn't wildly original but just different enough to make it feel fresh. The pacing felt very good and kept me solidly engaged from start to finish. I wish there was a little bit more background as far as the supernatural aspect and where and how it manifested in the modern day.

The acting was hit or miss. The main blonde twin did an excellent job throughout. Her range of emotion was really quite good and she gave a solid performance. The other twin did a decent job and while her delivery often felt natural, many times it felt situationally "inappropriate". Some of the side characters were not all that great.

I really liked the score/sound design, the overall vibe of this production and I was quite pleased with the ending as well. It felt in-line with the story and not a cop out like so many are nowadays. I would definitely recommend checking it out.

I enjoyed this one, with the creepy faustian deal occuring in the background.

Though why this is so interesting is because they chose to leave things a little vague and open ended. I interpreted this movie in at least 3 different ways, maybe in 4 even.

At the end of the day it is hard to come across well shot movies with good plot beats, audio/music, and solid acting. This one covered the bases very well and has elements of horror woven into it, just enough to keep you on your toes.

The ending was damn creepy as well.

7/10 bravo, good watch.

Very surprised by this film. Not your typical horror but I would say this is way better than most. Solid acting, great use of music, well directed. This is definitely a film that will keep your attention. It is a little slower paced but the mood and setting more than make up for that.

"Music is a blood sport." Dr. Cask (Ivan Shaw)

Having just viewed The Wolf of Snow Hollow, which combines the satiric with the traditional horror genre, seeing writer-director Zu Quirke's Nocturne made me realize that a horror film with no digitized scares or much blood to boot can be a most terrorizing rendition of that durable formula. The scare is in the mind, you see.

Juliet (Sydney Sweeney) and her more talented sister, Vi (Madison Iseman), compete at their high-class music school for the chance to play in the school's final concert. They both choose Saint-Saëns' Piano Concerto No 2 (remember the concerto competition with the demanding Rachmaninov 3rd in Shine?). Although Vi wins the right to play it at the concert in the end of the year, Juliet makes an implied Faustian pact with the devil, whom she found in an old playbook, to reverse her sister's fortunes and enhance her own.

What is so impactful is the lack of blood and screams; in fact, there are few, if any, jump scares. The terror is in Juliet's head, her obsession to win, her jealousy as the guiding principle. It's all very sotto voce, so to speak, a quiet doom tamped down by beautiful music and feelings kept just low enough to allow effective dialogue and feel the presence of a malevolent force, which may be the devil but surely is the "green-eyed monster which doth mock the meat it feeds on." In some sense, I am reminded of the rivalry in Black Swan

About the Saint Sens, pianist Lise de la Salle wrote: "The highly lyrical first movement is an expression of late Romanticism. The second movement is as effervescent as a glass of champagne. And the final movement, a real whirlwind, a fantastic ride (wonderfully captured in this quasi-perpetual movement in triplets), is quite dizzying." These elements could be found in Nocturne.

"Welcome to the Blumhouse" is a "program of eight terrifying genre movies coming to Prime Video," and if the other seven are as good as this one, Halloween viewing will have matured to an intelligence and psychology worthy of a genre rarely this high class or intellectually satisfying.