![]() That is, Edward writes a story that allows Susan to feel the very sense of loss, grief, horror and heartbreak that she incurred on him through their nasty divorce. Not to betray just how the two go about exacting brutal payback, what plays out in the story within a story in effect serves as a vengefully grand and malicious metaphor for Susan's marital malfeasance. The scenes between Shannon and Gyllenhaal are among the strongest in the film, the former no-nonsensically brusque but vulnerable, the latter pensive and sensitive, both showing in way we've never quite seen either. With a year or so left to live, Andes vows to aide Tony in restoring his manhood by serving vigilante-style comeuppance to the three assailants who utterly violated his family and left the man emotionally bankrupt. As they burn down the highway at night, the family is soon run off the road by a trio of wild redneck terrorists – Ray (Aaron Taylor-Johnson), Lou (Karl Glusman) and Turk (Roberto Aramayo) – who abduct the two females and leave Tony left for dead out in the brush.Īlong to help Tony is a man named Bobby Andes (Michael Shannon), a terminal cancer-stricken lawman with no real moral compass to guide his seemingly sole enforcement of law and order. As she huddles in bed and peels back the first page of Edward's new novel, we're transported to a deserted Texan highway in a fictionalized tale involving Edward (renamed Tony, also played by Gyllenhaal), Susan (now played by Isla Fisher) and their daughter India (Ellie Bamber). Now that she has it all, she's just as unhappy. She lost faith in his ability to write and provide a fruitful life for the two. English professor whom she cruelly abandoned in disbelief of his profession. It was written by Susan's first husband, Edward, a budding novelist and U.T. Left alone for the weekend, insomniac Susan receives a manuscript in the mail entitled Nocturnal Animals. As the film opens, we sense a widening chasm of infidelity between her and her second husband, Hutton (Armie Hammer), despite the lavish lifestyle the two have forged together. Susan Morrow runs a successful art gallery in New York. Do wise and prey on NOCTURNAL ANIMALS when it opens wider next month, as it's not only one of the best genre pieces of the year, it's a deeply duplicitous and deliciously diabolical tale of metaphorical recompense! With a sharply redesigned storytelling structure, the film is expertly architected, beauteously shot, grippingly acted and splendidly edited. Adapted by Ford from the Austin Wright novel Susan and Tony, the movie is dichotomized into a story within a story, the first taking place in the cold, ritzy-glitzy high-brow art culture of NYC, the other in a seedy and sweaty stretch of Texan highway and back-roads where rape and murder occur. Indeed, if his 2009 feature debut A SINGLE MAN was about mourning the death of a loved one, his new film is a cleverly framed lamentation on the loss of a loved one, and the evilly expressive retribution therein. REVIEW: Seven years is no bad luck for a keen-eyed fashion designer turned meticulous filmmaker, Tom Ford arrestingly attests in his new high-art-pulp-fiction thriller NOCTURNAL ANIMALS. ![]() PLOT: Years after divorcing her first husband Edward (Jake Gyllenhaal), Susan Morrow (Amy Adams) receives a manuscript from him that shakes her to the core and forces her to reevaluate the choices made in her life.
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