Leur nid

Hoo boy, let the discussions flow.

It is rather lovely to soak in a well made piece of cinema that will no doubt elicit a bevy of experiences depending on the audience. "The Nest" has a basic mid-life family implosion crisis plot at it's core, but just how rotten is it?

Jude Law (Rory) is a slick talking investment advisor, living a comfortable New York life, with a pretty horse-training wife, and requisite two children. Yet he yearns for more. Soon the quartet are off to his England, to live in an isolated ancient mansion filled with too many rooms, a table so big it cannot leave the premises, and secret doors. Sounds like a horror movie, and in a sense, it is. Just not of the supernatural variety.

Law owns the screen as the flashy business stud, pushing all his chips into the middle of the table, dragging his reluctant dependents along for the ride. Carrie Coon (Allison) is his American match, willingly embracing her husband and his white lies until breaking point, then unleashing a vindictive, cruel yet understandable side in their escalating partnership.

Is this a family drama? An allegory for greed? A warning? A husband and wife coming to relationship climax?

A riveting turning point, actually one of many, has Allison beaming beside her man at a posh dinner party, as the boss welcomes him back to the English fold, revealing a devastating lie. Her smile doesn't break, but it is clear that there is trouble a foot. Much trouble. The husband and wife dance continues, but as finances spiral out of control, the tight solitary quartet starts to crack.

Every act is punctuated by a primo British new wave nugget from the likes of the Cure or Psychedelic Furs as a reminder we are in the eighties. It is a rather odd reminder, as the movie really doesn't depend on an era, other than referencing the greediness of the Reagan and Thatcher right uprising. It does elicit a weird alarm bell of nostalgia for anyone of that age, and perhaps was a bit of directorial self-indulgence. Not unwelcome mind you.

How and not why this plays out is the strength of this film. Blame is easy to hurl, but sometimes life is the problem.

A moody a piece of cinema, both visually and thematically, "The Nest" is a film that leaves an odd, bitter aftertaste, long after the main course is digested. A burner.

• hipCRANK

"The Nest" (2020 release from the UK; 106 min.) brings the story of Rory and his wife Allison and their kids Samantha (14) and Benjamin (10). As the movie opens, we are in New York and watch "a day in the life" of this family. Next morning, Rory has news: he has a great job opportunity in London (where he hails from). Allison reluctantly agrees, and soon the family arrives in the UK at their new place in Surrey, a massive 17th century mansion. It's not long before tension rises... At this point we are 15 min. into the film but to tell you more of the plot would spoil your viewing experience, you'll just have to see for yourself how it al plays out.

Couple of comments: this is the second feature-length film from writer-director Sean Durkin, who previously gave us the excellent "Martha Marcy May Marlene". Here he examines the consequences of uprooting a family from their familiar New York surroundings to a brand new and unfamiliar environment in the UK. This movie is plot-heavy and hence I'm not going to say a whole lot more, although I will say this: I found this movie classify, as it covers a number of different areas, although a generic 'family drama' could cover it. Also, the movie is set in the 1980s: there is reference to "President Reagan" on the radio, and 1980s music is a-plentiful including the Thompson Twins, the Cure, and many others. What I thought at the end of the film was this: "Money's Too Tight (To Mention)", the 1985 hit by Simply Red. Why? Just watch! Jude Law (as Rory) is excellent once again (he currently stars in the HBO mini-series "The Third Day"), and the same goes for Carrie Coon (for Allison). Beware: there are a few scenes in the movie involving horses that you may find difficult to stomach (I looked away).

"The Nest" premiered at this year's Sundance Film Festival (yea, pre-COVID-19) to good buzz. Then of course movie theaters shut down. The movie finally was recently released in select theaters, including my art-house theater here in Cincinnati, fully adhering to all COVID-19 protocols. Not that it mattered, as the Tuesday early evening screening where I saw this at was attended poorly: 2 people (including myself). If you are interested in a hard to classify 'family drama' or simple a fan of Jude Law or Carrie Coon, I'd readily suggest you check this out and draw your own conclusion.

"The Nest" was totally preaching to this choir.

The older we get, the more my wife and I find ourselves drifting into the life philosophy of minimalism. Our focus is on cutting all the junk out of our lives, not just material junk, but psychological and emotional junk as well. This means deciding where are priorities are, what's important to us, and eliminating things and people that interfere with that.

The patriarch in "The Nest," played by Jude Law, is pretty much the exact opposite of that. Never content with what he has (which is a lot when the movie starts, and more than most people on the planet will ever have) he insists on moving his family into a giant and decaying mansion in England in order to take a job that he knows will give him his big break. But it doesn't, and the effect his greedy lust for more, more, more has on his family comprises the plot of this movie. Law is very good, but Carrie Coon, as his wife, steals the show. Her character arc is the film's most fascinating element, a woman who's allowed herself to become subservient to her husband but for whom subservience doesn't come naturally. A couple of scenes, both set at dinner tables as it happens, where she asserts her dominance over her husband, are the film's most uncomfortable and memorable.

Some symbolism involving a pet horse is broadcast with all of the subtlety of a tornado siren, and the sheer unpleasantness of being around these miserable people may turn some viewers off, but I mostly found myself engaged with this one.

Grade: A-

It would be impossible for me to rate this file. My wife and I chose to watch this film looking for thriller. It turned out to be anything but. If I had to classify this film, I would call it psychological character study. As this is not what we expected to see, we spent the whole time wondering when the thriller elements would begin. When the ending credits started, we thought it was a complete waste of time and regretted not picking something else. If it was properly classified, it might be an excellent film. It might rate a 7 or more. If you expected a thriller as we did this would rate a 0 or 1 which is something I would never do.

Nicely played and it does have some interesting themes but it never makes the most of them, feeling dramatically inert for long periods. All of the tense scenes are in the trailer, the rest is a rather humdrum, if never quite boring, collection of family scenes. Saved from being a 5 by the final few reels.