Clock

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.

...from the caviar, salmon roe, and chicken eggs to the fish climbing out of the sea. The metaphor here is beyond Dr. Seuss style, you can't miss it.

As a sci-fi concept, this would have been amazing. If it were my movie , I would have cut the first scene completely (playground, it added almost nothing, the little it did is a spoiler), and then got more into the "clinic." But it's not and so it went from horror to horrible slow and steady.

One thing I'll give, the suspense sucks you in. It's so completely offensive and shocking you want to see where it's going. It's definitely a train wreck you can't look away from.

Clock is a film that could have been good. It has a solid premise and set-up, although some of the dialogue is a bit heavy handed. The acting is solid - Agron is a great lead. However, the plot is completely scattershot and by the end the film has lost sight of whatever point it was trying to make. It constantly shifts gears, and in the second half piles on plot developments that really amount to nothing. Which is a shame because I think if it picked a lane and fleshed that out it could've been a really tight and engaging film. It's also devoid of any scares - though one scene at a birthday produced some solid tension.

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.