Now usually I write these reviews within a week of seeing the movie. This however has not be the case due to holidays, and so naturally I have spent more time than I usually would sitting with a lot of these movies. The Power of the Dog is such a film where on a first watch I rather enjoyed it, and found it to be a very simplistic and interesting thriller that slowly unveils itself in an intriguing course of twists and turns. But as time goes by, one finds themselves I feel pondering the ultimate calibre of the film beyond its lead performances.
Perhaps I should note that I personally am not a fan of Jane Campion’s directorial work and this is certainly my favourite of her films by a long stretch, this is perhaps in particular down to the fact that the direction itself of this film is one of the films weakest aspects. The direction is largely unshowy and makes a distinct choice to not get in the way of the story being told. Many would comment of course that is in itself is good direction, but I feel like in a roundabout way this film succeeds in telling it’s story so effectively largely down to the fact that it’s least the Campiony I’ve seen. In direct comparison one needed only looking at the aggressive editing and bizarre visual flourishes that make a movie like In the Cut for me borderline unwatchable. An easy comparison to make for on the basic level both films are dramatic thrillers with an array of twists and turns along their path. On this same front I must comment that Campion’s strongest addition to the film is in fact her screenplay adaptation of the Thomas Savage novel that this film is based on. Time and time again the screenplay reveals another turn that completely re-contextualises the majority of what we have just witnessed, that assuredly will make repeat viewings enjoyable. However therein lies the rub, the film is so largely cold and unfeeling, that I very doubt anybody would rush to see this film again at all. I know I certainly wouldn’t and I love ‘cold and unfeeling’ movies. Prime example being that completely unwarranted I recommended to friends recently a film entirely about the disillusionment of love and the possible downfall of a marriage, only for them to comment back “that was such a Tom film”. For me if there is anything that propels this film to greatness and warrants the possibility of rewatch, it would have to be the boundlessly brilliant performances.
Chiefly our central four, who frankly would all be worthy of nomination in whatever field the critical bodies see fit. Of course the absolute standout is Benedict Cumberbatch, balancing an outrageously dark and compulsive charisma with a furiously hateful desperation and passion. Following on under him is his meek brother played by Jesse Plemmons who vitally offers the exact opposite sibling in this brood, a shy and loving man who frankly wouldn’t say boo to a goose, but holds fundamentally a deep love and care in his heart. Kirsten Dunst is phenomenal as always, offering a slightly more manic variation on her painfully vulnerable avenue that she has tapped before. With Kodi Smit-McPhee, the weirdest of the bunch, flitting between pained longing, a childish optimism and an unsettling darkness. Overall it is these performances that make the film work and it says an awful lot about the rest of the film that I doubt that it would be anywhere near as successful without them.
A perfectly adept 7/10 drama that over time reveals itself to be a lot more than it’s simple beginnings, however unfortunately overall a little empty. Themes, narratives and character arcs are scratched at, rather than investigated, all in all to create the atmosphere of a world of oppression, however leaves an overwhelming feeling of coldness. Now this cold and stoic nature is of course the films goal and it achieves this, however it leads to the film itself growing stale rather quickly. A few notable plot developments send this film in a direction that saves it from complete failure, but when one looks back on the film some time after, you realise that it really wasn’t that much to shout about afterall. Bar as aforementioned it’s cast of leading performances.
P.S. It’s going to be very nice to see Dunst get some Oscar recognition, but of course in typical Oscar fashion, I have seen her do so much better work that it’s quite annoying that this is what she’ll be recognised for.
P.P.S And in the Johnny Greenwood stakes, I’m gonna have to give it to Spencer over this one.
- - Thomas Carruthers
 – Review){kind=link}
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