By midlandsmovies, Aug 22 2019 11:06PM
Under the Silver Lake (2019) Dir. David Robert Mitchell
In 2001 indie chiller Donnie Darko became an underground runaway success and director Richard Kelly followed up that intelligent dark drama with a film so bad, indulgent and incomprehensible (2006’s Southland Tales) it pretty much killed his career. Well, in true Groundhog Day style, this L.A.-set neo-noir mystery film is a gigantic misfire on almost all counts, which is a shame as fans of David Robert Mitchell’s 80s-infused horror It Follows were no doubt anticipating something exciting for his second movie.
The plot, if you can decipher it, involves Andrew Garfield investigating the sudden disappearance of his neighbour Riley Keough, but during his escapades uncovers a large and complicated conspiracy. A great score clearly influenced by Bernard Herrmann’s music for Hitchcock is about the only positive to recommend the film, as low-brow discussions on masturbation and nudity crossed with comics and animated sequences fill a ridiculous incoherent narrative involving songwriters, a dog killer and some underground Pharaoh bunkers.
Influences range from Mulholland Drive, Raymond Chandler and Chinatown as we get dream sequences, the seedy underbelly of the city and some classic detective tropes but although it’s never really boring, it’s always awful.
There’s a scene midway through that so sums up this gigantic misfire that you must think that the director is trolling the audience into disliking his own film. “Do you like the movie?” asks one character to Sam (Garfield) as he stands in a cemetery next to a HITCHCOCK grave watching a film before 3 girls get into a limousine with a fancy-dressed pirate. What? How VERY clever of you.
The music is stupidly on the nose such as it is, including the “Behind movie scenes” line from Cornershop’s Brimful of Asha to REM’s What’s the Frequency, Kenneth. Ambitious, weird and bizarre but consistently terrible, Under the Silver Lake is what 2 stoner mates may think was a good idea at 4am but the film is baffling in construction and makes a terrible attempt to satire the movie industry and provides a lame and superficial commentary on female representation.
The only reason I watched right to the end of the credits was because I was hoping to get a fucking apology. I didn't.