Sin tiempo

I adore horror movies that are still finding ways to be different this day and age. Alexis writes and directs a love poem metaphor to women everywhere who don't want to have children in a society where they are made to feel like outsiders.

The lead actress's performance is absolutely stellar, the writing is great, and the body horror is apt (albeit of a narrow stripe, that will likely go over the head of those who don't enjoy cerebral horrors).

If you like your horror movies to be intellectual, Feminist, well-acted, off the beaten path, and just plain interesting as compared to the usual fare, Clock will work for you. I very much look forward to seeing more of Alexis' work in future.

A movie where time is the enemy? Why not? And not just biological clock but time itself, where an actual clock is the devil himself A movie rich with symbolism and ideas, at times to many ideas at once which sometimes takes the movie off the rails.

There are many aspects to the story: A satire dressed as horror. A black comedy dressed in blackest of black. Or a psychological thriller. That's the strength of the story, it's multifaceted aspects.

As mentioned the director wants to tell a lot. Above all about pregnancy and why choosing to not wanting children is taboo even today. Is that really what our society is about? Are you really a woman if you choose to not have children?

But it also tells about heritage and legacy. What is a legacy worth if you choose to go without children? But there is also something to say about time itself..

Where the movie ultimately fails is that there is not enough plot to warrant a feature film. The middle of the film basically feels like one giant filler story, only there to transport you to the ending. You can only so much with body horror scenes.

Had it been a short film the themes and execution would have worked much better. But it is not a bad movie at all, at least it will make you think..

I'm all about firmly establishing that putting pressure on people to have children is a cruel, ignorant, arrogant, awful thing to do. Whether the source of that pressure is society and culture, peers, family, tradition, or anything else at all - even hormones and biology - the very notion that people who can become pregnant can and should and must sacrifice their will and autonomy to anyone or anything else, and that refusal or declination to do so suggests one is "broken" or "abnormal," is a level of horror that's all too real. In turn, it's only reasonable that a movie should be made about exactly that. I would say that filmmaker Alexis Jacknow approaches all this with a heavy hand, but then, when the question in the air is one of self-autonomy and self-determination in the face of monumental opposing forces, there's not much room for nuance. On the other hand, this is cinematic storytelling we're talking about, and not politics, and however potent and admirable some dialogue and scene writing may be on an emotional level, extending that heavy hand to the construction of the picture isn't necessarily as smart or commendable. It's not that this isn't well made, or that there aren't good ideas on hand, because this couldn't be further from the truth. Yet the fact remains that for all the fine craftsmanship and intelligence that went into it, 'Clock' feels hard and blocky as a viewing experience, like a key that doesn't truly fit into the lock of our brain.

I'm going to keep using the phrase "heavy-handed" here, because it's all too appropriate. While the overarching concept already provides a thick, viscous layer to take in, like the most unforgiving humidity that you nevertheless have to breathe in, there's more. Other ideas that Jacknow adds to it might be a step too far; protagonist Ella's family history, and the sense of obligation that follows therefrom, are ideas worth exploring, and the lines Ella drops in one key conversation with Dr. Simmons in this regard are all too on point - but this extra angle just feels excessive in light of, well, that entire first paragraph I just wrote. The psychological angle is full of delicious potential, but it's one that specifically requires a very delicate, subtle hand to do well; as there's no mistaking that Jacknow's digits are leaden, the approach kind of falls flat. Disturbing imagery is genuinely gnarly; intended jump scares, and the most unnatural visions to present, just seem out of place here. The shift in the color palette, the cinematography that keys in on Elle's troubled mindset, dialogue and scene writing to follow in the latter half: in far, far too many ways, in conjuration and in execution, 'Clock' practically beats us over the head with every odd and end. In every capacity there are a lot of terrific ideas here, and I recognize a great bounty of possibilities in what this could have been. "Could have been," however, is not "is."

Even before the revelation to come in the last act, precipitating the finale, the result of all this heavy-handedness - one clunky, boulder-sized dispensation after another - is that the whole feels a little scattered and unfocused. As if to emphasize the point, while on the one hand Ella gets another triumphant moment to shine in the last small stretch, what follows in the very last few minutes just feels like an absolute mishmash, as though Jacknow couldn't figure out exactly how to end the story, or what she wanted to say.

Everything looks and sounds good from a standpoint of the fundamental construction. Production design, art direction, visual effects, sound effects, music, direction, acting, editing, costume design, hair, makeup, cinematography: even if I don't agree with all the choices made, I appreciate the hard work and skill that went into this. Jacknow's direction is mostly just fine. I really do like the ideas that she put into her screenplay. The sad fact remains that, not least given the psychological edge to the storytelling, what this feature needed above all was a more carefully considered, thoughtful, tactful approach, in almost every manner. Even for all this, I think 'Clock' represents a fairly strong first full-length film for Jacknow, and I truly look forward to seeing what she does in the future as she further develops her skills as a storyteller and filmmaker. Part of me feels bad being so critical here because I recognize the earnestness of the intent, and all the ardor that made this what it is. Still, however smart this or that may be, when you get down to it the final product just isn't particularly thrilling, or entertaining, or satisfying - not even on that emotional level that does provide some gratifying tidbits here and there. I wish nothing but the best for Jacknow, or anyone else involved, and all the best of luck in their future endeavors; may this 2023 flick be a platform that helps them step up to something more.

Clock is a particularly female-oriented horror film.

So I'm not sure that I am the right person to be reviewing.

As, in the film, we find ourselves following Ella (played by Dianna Agron), who is facing the ticking of her biological clock, and all the anxieties that come with it.

Doctors seem to think she suffers from a syndrome, that instills a deep seeded fear about having children within her.

So it doesn't help that she feels pressured to have children by her family and friends...not to mention, nature, itself.

As a result, she subjects herself to a series of grueling psychological tests, at an institute that is studying women with her condition.

A series of tests that force her to confront the underlying darkness that has prevented her from having children up until this point.

This darkness seems to be a trait inherited from cultural trauma, passed down through the generations.

A trauma relating to her Jewish ancestry, and the experience her family went through during WWII.

With these rigorous psychological tests bringing her underlying anxieties to the surface...in the form of a series of bizarre hallucinations.

Making the whole thing a psychological horror.

As this darkness starts to consume her life.

And affect her relationship with her friends.

Particularly the pregnant ones.

The name of the film comes a grandfather clock her father owns, which is her family's most prized heirloom.

Being the only thing they managed to salvage from the war.

So it, not only, symbolizes the pressure she feels to procreate...but might also harbour a dark supernatural force...which has been preventing her from wanting to bring children into such a broken world.

It all seems to be pretty straight forward, until they throw a bit of a twist in at the end.

Which solidifies her descent into madness.

A result of the manipulation she feels she is being put through.

Agron does an excellent job, portraying a woman spiraling out of control, as a result of the transition from potential motherhood, to being a crone.

Ultimately leading to the film's unexpected conclusion (even when the hints are there).

I see that this film has been garnering some rather harsh reactions - mostly, from male viewers.

But I don't think they are warranted.

Because it is both an entertaining, and engaging, film.

That held my attention throughout.

But don't take my word for it...cause I'm just a dude.

As only middle aged, and post menopausal, women can truly understand.

5.5 out of 10.

A talented interior designer struggling with her biological clock(and her family, friends and society insisting that she get a kid) agrees to a clinical trial to fix it, and things take a turn for the worse.

This is a highly effective piece of elevated horror. There's some incredibly visceral gore. It's only 85 and a half minutes long if you don't count the end credits, and I understand why some say that it should have been an episode of an anthology series like Twilight Zone instead. If it were even 10 minutes longer I would be saying it should be trimmed. Diana Agron delivers an amazing performance as Ella, the protagonist. Honestly, it's worth watching at least once just to experience that. The visual metaphors are very obvious and a little of the thematic material is repeated maybe one or two times too many - "my name is Dr Elizabeth Simmons" especially.

It is very much the product of the Jewish 30-something female writer-director Alexis Jacknow, exploring the anxiety felt especially by her and people in the same situation. Part of this is seen in how it incorporates the Holocaust, fears that it might be repeated, and Jewish guilt. Some have felt that it mishandled Shoah, I disagree. I found it to be appropriate, in good taste, and I think when something so awful happens to a people they should have a lot of freedom in examining what it does to them.

I recommend this to anyone who wants something that honestly looks at the pressures to reproduce and all of the concerns that come with. 7/10.