1/19/2024 0 Comments Elizabeth harvest rotten tomatoes![]() "Given its limited setting, it might sound like a knock that His Three Daughters would likely work as well on the stage as it does on screen, but that's more of a tribute to its live-wire energy that you almost never see anywhere but the best of theatre productions, and the gentle cinematic touches that are judiciously employed throughout make the drama transcendent, from a generally muted color palette that comes alive with the intensity of emotion at hand and a delicately deployed score by Rodrigo Amarante that really does deliver grace notes. "Each of his stars gets a chance to shine - Coon is a firecracker from the start, Lyonne eases into one of the richest roles of her career, and Olsen is the film's sneaky-great secret weapon - but they're all at their best when forced into working together." The Moveable Fest Related: Elizabeth Olsen lands next lead movie role opposite Alicia Vikander IndieWire ![]() It's wry, vivid and moving in unexpected ways." Despite any dread a skim of the synopsis might provoke, the film is free of the mopey melodrama or Sundancey quirks that often make the dying-parent/estranged-sibling screen subgenre so dire. "With poison-tipped stabs of humor and swells of feeling, His Three Daughters shakes off the familiarity of its setup and the inevitable shadow of its thematic forebears. And yet this family drama, sharply written and directed by Azazel Jacobs, cuts even deeper with clever crafting." The Hollywood Reporter "Such powerhouse talent packed into one movie is enough to satisfy on performance alone, especially when these compelling actors are pitted against one another in His Three Daughters, a ruthless, humane, and darkly funny story of grief and letting go. After 101 minutes, you will know the floor plan to this apartment, its weathered furniture and dens of privacy, like a familiar cocoon." Mashable "Characters regress, recollections diverge, old wounds fester. Jacobs gamely captures the out-of-time emotional shearing and bizarre mundanity of palliative care, how the walls, memories, hours warp and metastasize around waiting for the inevitable. "Death, especially of the slow and managed kind, is claustrophobic. Here's what some of the critics have said: The Guardian Elizabeth Harvest feels like the sort of classic tale that’s been told many times before, but in far more involving fashion.Related: Elizabeth Olsen offers advice to aspiring Marvel actors ![]() Gugino and Beard are equally effective, especially as their roles deepen during the course of the story, and Baker’s naturalism effectively contrasts with the gothic proceedings.īut the excellent technical elements are undercut by the tedious, repetitive storyline. The performances, too, are excellent, with Hinds infusing his portrayal with a tortured intensity and Lee projecting an ambiguity that works perfectly for her character(s). Cale Finot’s color-drenched cinematography and Diana Trujillo’s elaborate production design make invaluable contributions, as does the ominous score composed by Faris Badwan and Rachel Zeffira. The pic certainly looks gorgeous, and not only because the beautiful lead actresses are photographed with the sort of loving attention once routinely provided by Hollywood films. The confusing time-shifting chronology doesn’t help matters, while the filmmaker’s attempts to enliven the spooky proceedings via such devices as split-screen during a pivotal sequence only calls more attention to the narrative deficiencies. That is unless you consider it imaginative for a principal character to be locked in a room and forced to read a journal that reveals all. Most of the film’s second half is consumed by plodding exposition that is not exactly handled in imaginative fashion. The main problem is that the storyline becomes so convoluted that it doesn’t live up to the intriguing setup. Suffice it to say that the punning title provides a clue. ![]() To reveal the violent and fantastical events that occur afterward would be too much of a spoiler. Unfortunately, the film goes downhill from the moment that fateful door is opened. Add the inquisitive detective engagingly played by Dylan Baker and you’ve got the makings for real suspense. The characters prove instantly memorable, from the mysterious Henry (Ciaran Hinds), who’s clearly besotted with his new bride to the tall, lissome Elizabeth (Abbey Lee), who takes everything in with an air of weary resignation to the servants (Matthew Beard, Carla Gugino), who show little outward emotion but seem to be churning inside. The writer-director establishes an atmosphere of foreboding with an arresting visual style. A modern-day riff on the Bluebeard story displaying influences ranging from Rebecca to Italian giallo to Brian DePalma, Elizabeth Harvest begins promisingly.
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