Mandy (2018) - Rotten Tomatoes

Mandy (2018)

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Critic Consensus: Mandy's gonzo violence is fueled by a gripping performance by Nicolas Cage -- and anchored with palpable emotion conveyed between his volcanic outbursts.

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Pacific Northwest. 1983 AD. Outsiders Red Miller and Mandy Bloom lead a loving and peaceful existence. When their pine-scented haven is savagely destroyed by a cult led by the sadistic Jeremiah Sand, Red is catapulted into a phantasmagoric journey filled with bloody vengeance and laced with fire.

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Cast

Linus Roache
as Jeremiah Sand
Ned Dennehy
as Brother Swan
Olwen Fouere
as Mother Marlene
Richard Brake
as The Chemist
Bill Duke
as Caruthers
Paul Painter
as Cheddar Goblin
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News & Interviews for Mandy

Critic Reviews for Mandy

All Critics (113) | Top Critics (19)

The movie's imagery is consistently unearthly; its pacing has a magisterial weight. Call it pulp Tarkovsky, maybe.

September 17, 2018 | Full Review…

Cosmatos needs you to be charitable toward his performances. Or, barring that, he needs you to be stoned. Many will oblige.

September 14, 2018 | Rating: 3/5 | Full Review…

Every shot is composed with a directorial conviction heavy with hermetic knowledge and occult power.

September 14, 2018 | Full Review…

There's a masterful version of this movie that runs notably shorter, but that doesn't mean there's not an unforgettable one the way it is right now.

September 14, 2018 | Rating: 3/4 | Full Review…

For those who think nothing of staying up past midnight to devour the strange and fantastic, it hits the sweetest of spots.

September 13, 2018 | Rating: 3.5/4 | Full Review…

If revenge films are a dime a dozen, then Mandy cost a bunch of dimes. The plot is straightforward but visually, aurally, symbolically, it's a heavy motion picture that may be too much for some audiences to handle.

September 13, 2018 | Full Review…

Audience Reviews for Mandy

½

Well then, what have we here? I saw this film's trailer a few days ago and it immediately called to me. It was just one of those movies that, and I mentioned this in my Hell and Back review, would just have appealed to me in my teen days as a young metal head since, visually, parts of the trailer looked as if an old metal album cover came to life. Either that or like a full length Carpenter Brut music video. But, last week, it spoke to me more because of how intriguing its surreal (not to mention garish and lurid) visual style appealed to me. The movie just looked like it was gonna be a feast for the eyes. And, in that regard, it certainly didn't disappoint. This is gonna be a rough movie to review. Not because it's difficult to find what to say about it, since I'm certain I'll have plenty to say, but it's just the kind of movie where my description of it (or anyone else's for that matter) will do justice to the film. That's why there might be some moments where I might describe something in the movie and someone (ha, who am I kidding, no one reads these reviews) might go 'well, that just doesn't seem that special'. You just have to see it. With that said, I think I should preface this by saying that this might be my favorite movie of 2018. To be fair, I haven't seen as many of this year's movies as I would normally like to have seen by this point, but the sentiment still stands. It should be obvious to most genre fans that revenge thrillers really are a dime a dozen. That's not speaking on the quality of these individual films since, obviously, it varies from movie to movie. But the template has been set and there's rarely little deviation from it. And, if I'm being a fair man, this movie doesn't deviate from that template that much. That it does so with an incredible sense of style and visual (and auditory) flair cannot be denied. But it does follow the template set by revenge thrillers of the past. Then again, a strange religious cult summoning supernatural demons to kidnap Red's wife to make her part of the cult (as Jeremiah was immediately drawn to her) before setting her on fire, in front of Red, when she rejects Jeremiah's offer to be part of them is as about as different as it can be for this genre while still working within the same template. What I mean is that the lead character has someone he loves taken away from them and that lead character then proceeds to get vengeance on everyone involved by killing them with a sweet as fuck homemade battle axe. The thing about this movie is that there's very little in the way of conventional dialogue. There's obviously scenes with dialogue in the movie, like when Jeremiah tells Mandy of how he was washed over with a wave love by whatever 'deity' talked to him when he was at his lowest. This scene, as far as I can remember, is the 'talkiest' of them all. What the movie does do, however, is rely on a lot of visual storytelling and it does incredibly well at that. Red and Mandy, in spite of not having many scenes where they say a lot to each other, have a stronger and deeper connection than a lot of couples in rom-coms and I feel that that adds to the rawness of Cage's performance. A lot of what you have to go on is visual and physical interactions between the two and the movie does an excellent job without beating it over your head that Red loves his wife. That's why, in spite of the first half hour being a little slow and quiet, I feel that it is essential in establishing the connection between Red and Mandy. Their peaceful, idyllic existence needed to be established before the Black Skulls (which would be like the cenobites acquired Mad Max-esque vehicles) were summoned by the cult. I think that some people might be put off by the deliberately paced first half hour but, when taking the entire movie into it, I think it accomplishes the goal of setting the mood and the tone of the movie, not to mention establishing the characters prior to everything going down. The movie, and this might be a surprise to some people, is better paced than you would think. I think I'd be one of those that was surprised. The reason I say this is not because I was bothered by the first half hour, but sometimes these movies with very little conventional dialogue end up feeling longer than they are. This movie, however, isn't like that. No scene is wasted and everything that you see is of importance and significance. With that said, I did find the villain(s) but, mostly, Jeremiah Sand to be totally intriguing. I don't know if they were going for a whole Manson Family vibe but, obviously, that's the first thing that's gonna come to mind. Jeremiah Sand is a charismatic leader and, much like most cult leaders, probably took advantage of people who really needed some sort of spiritual or emotional support. There's also this interesting concept that the movie plays with where this chemist, who apparently may have led to the creation of the Black Skulls, has provided these potent, mind-altering chemicals to the cult. That's why there are certain scenes, like when Jeremiah tries to get Mandy to join him, where his voice is a little distorted and the image is a little psychedelic. These chemicals, seemingly, allow Jeremiah to keep his members under control. Everyone but Mandy, who was forcibly injected with these chemicals, and Red who, unknowingly, drinks some of it while on his journey to murder everyone responsible. It brings to mind the MKUltra series of illegal experiments the CIA did. It's a very interesting and richly detailed movie. But, the thing of it is, that this is probably the type of movie that takes repeat viewings to fully digest and understand all of its subtext and symbolism, which seems necessary without the use of constant conventional dialogue. The score is also really fucking great, so the movie, as I mentioned, not only attacks the eyes, but also the ears as well. The score perfectly compliments what is going on at any time. But the movie, on top of making you think and utilizing a distinct visual style, also works really fucking well as a revenge thriller. I think Panos Cosmatos, who's someone I'm gonna keep my eye on from now on (even though I did remember wanting to see Beyond The Black Rainbow, his first movie, a few years ago) understood that this movie, in spite of how visually intriguing and surreal it is, doesn't exactly work without the satisfyingly violent and bloody vengeance the movie is clearly building towards. But, in my opinion, I think what makes this part of the movie work is how they decidedly do not rush things. The last 50 or so minutes of the movie are dedicated entirely to Red crafting, as mentioned, his fucking sweet as fuck battle axe and hunting down, first, the Black Skulls and then cult followers and its leader. And it is oh, so satisfying and quite brutal. The most gruesome death, to me, is when he takes the other end of his axe, which he made into a knife, and he pushes it down the throat of one of the cult members. You get to see the progress too, they don't shy away from it at all. And really, I mean, you get to see Nicolas Cage go fucking nuts, which is why most people wanted to watch this movie anyway. In fact, Red takes the same mind-altering chemicals that were either forced on Mandy or used to create the Black Skulls so he gets to go even crazier, if such a thing was possible. There's also chainsaw battles. Seriously, what more can you ask of this movie? The revenge part of the movie might possibly the most satisfying of any I've ever seen. Or at least it's the most satisfying I've seen in quite a while. So, yea, as I mentioned, this might be my favorite movie of 2018. It is tremendous. It works as surrealist visual storytelling, but it also works as a violent genre exercise. The performances while, in some ways minimalist thanks to its similarly minimalist dialogue, are still tremendous and raw. And, at the same time, I still feel like there's a lot of this movie that I've yet to digest and/or discover so, again, repeat viewings are essential in figuring out all of this film's little mysteries. I loved this movie and while I think not everyone is gonna love it as much as I did, I would gladly give this a recommendation regardless. It's one of those movies that as many horror fans should see, even if they don't like it, because it just feels like Panos Cosmatos is on the verge of becoming someone really special in horror, if he isn't already. Regardless, this movie was tremendous. Can't say much more else than that.

Jesse Ortega
Jesse Ortega

Super Reviewer

½

Films like Only God Forgives or The Human Centipede are bizarre or off-putting, simply to be that, offering nothing else. That's just my opinion, but movies like that can also be absolutely incredible in terms of how a story is told. You can have the most generic premise in history, but still manage to accomplish one of the most original films of the year. Mandy is absolutely for a niche audience, so if you're someone who can watch any movie, no matter how intense, gory, insane, or downright disgusting a film is, then Mandy might impress you, as it did myself. While I'm cautioning this review and stating that the majority of average moviegoers will probably rip this film apart or not even be able to finish it, here's why I believe Mandy is one of the better films of 2018. The plot of this film is a spoiler in itself, so I will keep this very brief, without ruining the experience for anyone. Mandy follows a couple in Red (Nicolas Cage) and Mandy (Andrea Riseborough) as they run their shop in the woods, exploring their love together. As a religious cult is looking around them, their future is not going to be bright together. Filled with gruesome violence, some of the most unique visuals of the year, and a story that gets turned on its head, this is definitely an experience that shouldn't be missed for hardcore film fans. This particular film is anchored by fantastic (although haunting) performances by the members of the religious cult, but the true standout of the film is Nicolas Cage. Yes, fans of his work will get their favourite freakout moments that he's become known for, but it really is a surprising turn for him as an actor. With one scene in particular, his performance brought me to literal tears, due to how committed to this character he was. Through all the wacky moments this character goes through, it was the subtlety in Cage's eyes that had me invested from start to finish. Even though I felt like certain scenes were weird, just to be weird, he helped keep this bizarre film grounded in some sort of reality. As I mentioned, this film is visually striking. Personally, I found some of the visuals to be slightly gimmicky, but the characters surrounding the film easily made up for that. By the time the second and third acts kick into gear, the bizarre visuals become sparse, which felt like a breath of fresh air. Director Panos Cosmatos clearly had a vision for this film and stuck to it from start to finish, which has to be at least admirable. That being said, the best part of this film, at least to me, was the score by Jóhann Jóhannsson. The way music is presented here is almost like it's a character in the film. Even if I may not have been buying into a certain element throughout the first act of this film, the score was pulse-pounding and it truly blew me away. These are pieces of music that are definitely award-worthy. In the end, Mandy is absolutely not for everyone. In fact, as I said, I can see the majority of viewers being turned off quite early, but it will work for those who are open-minded film lovers. I was riveted from start to finish, and aside from feeling like some of the visuals were weird just to be weird, everything else about this movie is terrific. It's very hard to recommend a movie like this, but if you can get into it, the story, violence, bizarre imagery, and downright gut-wrenching moments all add up to a fantastic and insane experience. Mandy is great!

KJ Proulx
KJ Proulx

Super Reviewer

Love it or hate it, the 80's aesthetic has seen a lot of mileage over the last ten years or so. Resurrected by O.G. Michael Mann's Miami Vice reboot, taken to the extreme by Panos Cosmatos' feature debut Beyond the Black Rainbow, and hitting mainstream success with Nicolas Winding Refn's Drive, the bi-lighting and synth heavy scores make a comforting ensemble for Millenials pining for a time they never really experienced or were too young to appreciate in any way but through copies of a copy. Audio cassettes and VHS tapes have become the analog for Generation X's flower power tie-dye and Volkswagen bus fetish, which just goes to show that these things do work in phases and waves. While I don't get too worked up when I see things like Stranger Things buzzing, I will get incensed at the mention of a movie like Ready Player One because where the former is derivative at worst and homage at best, the latter is vacuous referential spectacle, explicitly reminding you of cultural icons you would be better served watching instead. It's onanistic and lazy, and I'm certain much of the 80's fatigue I read and hear about is due to this particular brand of cultural regurgitation. It's either that, or these folks just don't like looking at the far ends of the color spectrum while a Roland Jupiter 8 saw wave warbles over a TR-808 beat. Stylistic decisions and ambiance can make or break a film, or it can send a reviewer into fits screaming, "style over substance!" I'm sure that for most people watching Cosmatos' latest opus, Mandy will bear the cross of 80's fatigue on its shoulders, but I will not deny its majesty when called upon to critique it. This movie was made for me and people like me. It's one of the most psychedelic films I've ever seen. It is a mirror of mood in that it will reflect whatever attitude you bring to it. It's hilarious, sad, meditative, dark, gleeful, and weird in such an audacious way we don't often see in film anymore. It will often be said in conversations with my friends about older films, "this movie would never get made today" because it's so out there in concept, it's not marketable, it's anathema to mainstream filmmaking, etc. Mandy is one of those movies that somehow crawled out of the depths of movie hell to bring us a murderous hippie biker cult brainwashing people with LSD so that Nic Cage can get in a chainsaw fight with a redneck on a mountain. There's more badass in 1/4 of this film than in the last 10 Dwight Johnson films, and there's more audio-visual candy here than I've seen since Noe's Enter the Void. So I get when someone is tired of an aesthetic, but I would hope that one can tell when it is being used as an act of cinematic love and when it is just there to be trendy.

K Nife Churchkey
K Nife Churchkey

Super Reviewer

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