Hard Candy - Movie Reviews - Rotten Tomatoes

Hard Candy Reviews

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April 28, 2017
I kind of enjoyed this but I wouldn't watch it again
½ March 31, 2017
One of the most excruciatinlgy painful cinematic moments ever! What "Hard Candy" did for me was to basicallly have me question what is acceptable and was is moral. The performances by both actors were amazing! It's a really distrubing movie about a real and hard subject, with a very contrpversial discussion. Surely not the best, but absolutely served its purpose. I'm still thinking about it.
March 13, 2017
The two stars given are earned exclusively by the lead actors, without whom the tensity would be considerably weakened, leaving this movie with not a lot left to stand on. While often espoused as "controversial" or "brave," the subject of pederasty is used as an easy-target incendiary device in order to make torture more palatable to the viewer. While you do get the occasional sense that the protagonist is herself disturbed, by the end of the film it feels as though she is celebrated as a paragon of vigilantism. Boiled down, Hard Candy is violent revenge fantasy with a strong sense of moral superiority.
March 7, 2017
Emotionally satisfying, and fast paced enough to leave you with little time to dwell in the questions. Visually stunning it may be, the camera work also, to my untrained eye, perfectly conveyed the emotional tension and intensity of the scene.
February 16, 2017
Preachy chastisement.
January 10, 2017
A well acted unsettling thriller that both teases and delivers.
½ January 6, 2017
The concept in Hard Candy was good, the acting was good, but the plot is weak and the ending is what ruins most of the movie for me. The biggest problem I have with the film is that it becomes 80% torture & 20% everything else (which is not enough). The dude has several chances to overpower this tiny little girl/lady and he doesn't? It looked as though she would barely make it to 90 lbs and that's with soaking wet clothes! Really? Come on! There's also a surgery and it seemed he was under more pain before the surgery than during the surgery...what? How the hell is that possible given what type of procedure it is? Also, the asian neighbor...why was she even in the movie? She clearly heard noises and saw someone on the roof and she just let that go? And the ending? That's what really ruins it for me (and why I won't rate it at least 3/5 or 6/10). The first 30 minutes are good and then it went downhill for me. If you're in the mood to just watch a torture movie with little substance after that, then go ahead. Very average movie 2.5/5 OR 5/10
½ January 3, 2017
Intense is a word. Painful another.
January 1, 2017
There is no plot to this movie. Stupid movie.
½ December 28, 2016
Better than expected and very uncomfortable.
½ December 23, 2016
Too squeamish - had to exit the theater.
½ November 20, 2016
11/20/2016: Meh. It was ok at best. Page did great though.
½ November 6, 2016
One of the most WTF movies I've ever watch....
October 7, 2016
Ellen Page portrays the exact opposite of her character in the 2007 film Juno. What made Juno so engaging was Page's ability to conjure empathy from the audience, even in her moments of fault. The only person who can conjure empathy in this film is Patrick Wilson, whom Page's character demonizes ruthlessly. The film gives the audience absolutely nothing conclusive or concrete to justify Page's maniacal torturing of Wilson. It portrays Page as someone who turns the predator (or lack thereof) into prey out of bloodlust, rather than out of pride. Another piece of concrete material that the film refuses to show the viewer is proof that Wilson's character is even half as monstrous as Page thinks she knows he is. Wilson is anything but a predator on the prowl as Page pushes his character to a slow, torture riddled death. The only positive about Hard Candy barely pervades over the film's first act; it's ability to hide from the viewer what is about to unfold next. Not a complete abomination, but certainly a film that makes me clutch my body rather than my popcorn.
½ September 13, 2016
Twisted Film. Was not sure what too expect but I was not expecting what happened. If your a guy this movie may be painful too watch.
½ September 3, 2016
A sick, savage and psychologically sadistic exploitation film with so much crippling tension that most audience members will leave the theater in a stretcher.
½ August 14, 2016
Disturbing and intelligent. Perfect for psychological thriller lovers.
½ August 12, 2016
In 21st-century society, there are few subjects which can produce such guaranteed levels of hysteria as paedophilia and child sexual abuse. Technological progress, particularly the development of the internet and social media, has made sex scandals more immediate and more sensational, at least in the way in which they are reported. It has also resulted in a feeling that our culture is collectively under attack whenever such a scandal breaks; the public response to Operation Yewtree and the revelations about the Paedophile Information Exchange has been as chastened and ashen-faced as the aftermath of the 7/7 bombings or any other recent terror attack.

But just as erotic thrillers like Fifty Shades of Grey often oversell their rauchiness to disguise how tame they really are, so films about sexual abuse (at least in the English-speaking world) have been decidedly hands-off for some time. Not every piece of media about such a difficult and delicate subject matter has to be as contentious and uncomfortable as BrassEye, but the likes of Catfish and Trust are ultimately very sensitive, well-behaved affairs, which approach their subject in a manner which avoids causing offence but often at the expense of saying anything significant. It takes a great deal of bravery and intelligence to make a film which tackles this extremely tough subject in a manner which is both nuanced and brutally honest - and that is where Hard Candy comes in.

When Hard Candy first came out, a lot of the analysis focussed on the visual imagery of the characters, which had been played up in the marketing. The posters for the film made it out to be a modern-day retelling of Little Red Riding Hood, with Ellen Page's Red Riding Hood going after Patrick Wilson's Big Bad Wolf. The Japanese website for the film even used the tagline: "Red Hood traps the Wolf in his own game".

It's been widely documented since then that the allusion to the fairy tale was largely a coincidence; Hayley's red hooded sweatshirt was not premeditated symbolism, and the creative team merely seized upon the opportunity. It's also arguable that trying to reduce Hard Candy down to 'merely' being a fairy tale belies the psychological depth which it exhibits. But it should still be said that horror films and crime thrillers often incorporate elements of the story, or ones similar to it, to create empathy with a diminutive protagonist. The ne plus ultra of this technique is The Silence of the Lambs, in which Red Riding Hood (Clarice) has to use one Big Bad Wolf (Lector) to catch a bigger, badder one (Buffalo Bill).

In the great pantheon of horror-thrillers with fairy tale elements, Hard Candy is in some respects a close cousin of Freeway, an under-seen mid-1990s effort which gave an early break to Reese Witherspoon. As well as the arguments about the shared Little Red Riding Hood heritage, both Matthew Bright and David Slade make use of the low-budget, independent aesthetic to bring out the edgy qualities of their respective stories. The washed-out colour palettes and handheld camerawork with tight close-ups put us uncomfortably close to the characters, forcing us to confront their every flaw and spot their every tell.

The visuals of Hard Candy are very carefully orchestrated to reflect the subtle shifts in the character dynamic, something which prevents this intimate two-hander from ever becoming stagey. Jo Willems, who later shot The Hunger Games: Catching Fire, does a very fine job, but the real credit should go to his digital colourist, Jean-Clement Sorret. The film was shot with the characters being slightly over-lit, and after shooting was completed, Sorret went through the film frame-by-frame, turning down the frequencies in scenes where Hayley felt threatened or angry. Aside from Roger Deakins' painstaking colour correction on O Brother, Where Art Thou?, such a meticulous approach was unprecedented, and it pays off, creating a
startling, creeping claustrophobia which leaves us gasping for breath.

The single biggest strength of Hard Candy is that it constantly forces us to question the moral authority of both parties, particularly Ellen Page's character. Had the script been any weaker, or the direction any less steadfast, the film would have quickly descended into a nasty little revenge thriller - I Spit On Your Grave by proxy, as it were. Given the evidence which is stacked against Jeff, we're not exactly rooting for him, but we don't support Hayley unconditionally, particularly as more details about her methods and motivation come to light. The film wants to explore how each party justifies or defends their actions, how morally warped the whole situation is, and what we would do if put in the same situation.

In doing so, the film manages to tackle both the horrible crime of child sexual abuse and address the hysteria and culture of vigilantism which has sprung up as a result of it. Slade does a great job with Jeff of showing us a banal, normal exterior with something deeply sinister buried just beneath. Jeff's initial scenes are similar to those with the villain in The Vanishing: they both seem normal to the point of boring, even though what they are doing is increasingly unspeakable. Jeff's pictures are shot in an almost Kubrickian manner, with the sheer whites, subtle reds and smooth camera angles being a possible reference to the long, slow corridor shots in The Shining.

Hard Candy pulls an equally good deception on us with Hayley. Page's first few scenes are very naturalistic; you don't get the sense, either in the online conversations or the first encounter in the cafe, of someone consciously pretending or repressing something to hide their true intentions. It's only once the screwdrivers have been downed and the screen goes blurry that the visage starts to crack, and we understand with horror what kind of driven, ruthless monster lies beneath. Page has always had a gift for managing to play distant characters while still making us care about them; here we are simultaneouly perturbed by her matter-of-fact moments and drawn to her impulsive, moralistic outbursts.

Many horror films which accrue the kind of reputation that Hard Candy enjoys often do so because of the reputation of a given sequence. Sometimes, as with the chest-burster in Alien, the sequence in question is burned so strongly into the public's consciousness that it feels unwittedly like a set-piece; critical reaction can turn just another line of dialogue into a patch of purple prose, often against the writer or director's intentions. It's therefore gratifying that Slade manages to avoid that trap here, cooking up a sequence which is truly horrifying yet part of a continuous whole.

The castration scene in Hard Candy is at turns gruesome, nerve-jangling, chilling and a brilliant piece of misdirection. Despite appearing to just exploit some base, simple fear (i.e. the loss of one's genitals), it also brings out the metaphor behind this action, just as any decent horror film should. If you want to see this scene on the simplest level - a paedophile getting what many may feel he deserves - you can do so, but the film shoots it so slowly and clinically that it produces no joy or feeling of vindication. This slow pace lets the implications come to the fore - the symbolic loss of male power and agency, the consequences of the vigilante following through on their dark desires, and what it says about the human condition in general. If nothing else, it's handled more assuredly and with clearer artistic intentions than the scissors sequence in Lars von Trier's Antichrist.

Much of the plaudits for the performances have rightly focussed on Ellen Page. Two years before her mainstream breakthrough in Juno, this was the role which announced her as one of the most promising acting talents of her generation. But for all her convincing and frightening intensity, it would all be for very little without the support of Patrick Wilson, whose collapse into blind fear, panic and despair is utterly gripping. It's a pity in hindsight that Wilson's career hasn't achieved the same level of success, discounting the heavily flawed Watchmen and the perplexingly overpraised The Conjuring.

Hard Candy is a gripping, thrilling and chilling calling card for both its major stars and its director on debut. Despite a slightly shaky ending, in terms of both content and pacing, it manages to serve up both shocks and substance to do justice to its tricky subject matter. It is testament to the notion that an issue can be graphically explored without exploiting it, and even the most taboo of notions can be approached if great care is taken. If nothing else, it's a great benchmark for modern horror and thriller filmakers which will stand the test of time.
July 27, 2016
With captivating performances from Wilson and Page, Hard Candy is a sombre film that explores uncharted film territory, blurring the line between victim and criminal.
July 12, 2016
Two people, one setting, and you have no idea who to root for. I really like both Ellen Page and Patrick Wilson as actors and do they act their little hearts out here - very darkly too for the both of them. Wilson plays a photographer named Jeff, who is courted by a 14 year old Hayley online, and agrees to meet up with her and eventually takes her home.

The first maybe half hour the film is an exercise in trying to not squirm out of your skin. Page being tiny and cute and looking a lot longer than she actually is in real life really makes you forget that she's playing a 14 year old and isn't actually one. You feel just wrong watching how her and Wilson interact at first. You're afraid of where this is going to go and then Hayley changes before your eyes. Hayley is by no means an innocent and she is out for blood.

You would think you'd be firmly on Hayley's side of things, but you can't help but go back and forth just based on the absolutely horrifying situations Jeff is put in (one rather infamous scene in particular which I will not spoil if you haven't seen it). I'd still say I'm for sure spiritually with Hailey but dang.

It's wonderfully acted, extremely claustrophobic, and the tension is first rate. The only reason it doesn't rate higher is the believably of certain things. The fact that Hayley is, allegedly, an honours student can't be an explanation for everything. Sorry.
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