Rated R for sexual content, nudity, violence, disturbing images, and some language
1 hour 49 minutes
Writer/director Robert Eggers follows up his striking debut The Witch with The Lighthouse, a different kind of horror movie that channels psychological distress over supernatural haunts. While both films use period-
correct dialogue with authentic dialects to establish an undeniable sense of time and place, Eggers’ latest effort is even more engrossing and oddly enchanting by comparison.
Shot in gorgeously haunting black-and-white and presented in a constrained 1.19:1 aspect ratio, the film is an unrelenting symphony of dread and dismay fueled by impeccable sound design and two top-caliber performances.
We meet our two main characters, Ephraim Winslow (Robert Pattinson) and Thomas Wake (Willem Dafoe), in hazy silhouette as their boat charges ahead to a remote island off the coast of New England. It is there that the two men plan on spending the next four weeks together, with the cantankerous Wake serving as the lead of the lighthouse while the virile Winslow takes up the physically taxing jobs. Over their stay, the pair bond over nightly dinners and overnight liquor sessions but eventually, isolation and paranoia begin to take hold of them as the natural elements around grow harsher every day.
Shaped by the work of German Expressionist masters like F.W. Murnau and Fritz Lang, The Lighthouse is a hellish and hypnotic vision from a filmmaker who continues to push himself formally and stylistically. Together with cinematographer Jarin Blaschke, Eggers beautifully paints his frame with the perfect balance of light and shadow to convey the rotting psyche of the central duo. Also lending itself to the slow decline into insanity is the music score by Mark Korven and the accompanying cacophonous sound design, which blends the constant cawing of seagulls with the growl of a bellowing furnace to overwhelming effect.
Thanks to the fiercely committed acting from the leads, this is as good a two-hander as you’re likely to see in theaters this year. Sporting a picturesque seaman’s beard, Dafoe brings a cackling menace to his role as he tosses off dinner toasts and curse-laden monologues with equal panache. Pattinson, who was also excellent in another challenging A24 entry High Life earlier this year, is even better as the downtrodden wickie who becomes consumed with guilt and obsession.
I hope this film gets nominated for plenty of Academy Awards when the nominations are announced. But at the very least, these two actors deserve to be recognized for their superb work.
Bringing everything together is the salty screenplay by Robert Eggers and his brother Max Eggers, which ratchets up the tension between the beleaguered men with pointed dialogue that’s at times harrowing and hilarious. Whether they’re sparring about the quality of one’s cooking or how lazy the other is, their bickering is intentionally reminiscent of an old married couple. In the midst of a more amiable conversation, Thomas utters the film’s thesis: “Boredom makes men to villains.”
Immaculately crafted from top to bottom, The Lighthouse is a maelstrom of mischief that should pull in all who dare to enter its path.
Coming to theaters this weekend
Charlie’s Angels, starring Kristen Stewart and Naomi Scott, reboots the popular female-centric action franchise about a trio of highly trained spies who travel internationally to take on a new threat.
Ford v Ferrari, starring Matt Damon and Christian Bale, tells the true story of an American car designer and professional driver who set out to build a brand new vehicle to challenge Ferrari at 24 Hours of Le Mans.
The Good Liar, starring Helen Mirren and Ian McKellen, is a spy thriller about a seasoned con man who finds himself falling for the woman he orchestrated his latest scheme against after meeting her online.