May
March 27th 2007 05:12
May (2002) was strongly and unreservedly recommended by fellow cinephile and Orble movie blogger John Doe. It’s the debut feature from writer director Lucky McKee and it’s a decidedly inky and highly quirky modern horror fable that resonates long after the final image fades.
May (Angela Bettis) is strange and lonely young woman. In the film’s early scenes we learn that her overbearing mother had a key role in shaping her daughter into the troubled adult she’s become. Afflicted by a lazy eye May lives alone with only her old fashioned doll incased in glass who stares mournfully into nothingness, a present of condescension from her mother.
But May soon acquires the aid of contact lenses at the same time finds herself allured by the local mechanic Adam (a bushy-haired Jeremy Sisto in fine form), whom doesn’t even know she exists. In one of the film’s many original and highly memorable scenes May watches as Adam falls asleep at a café table his hand aloft. May has fallen for Adam’s hands and she discretely allows his outstretched hand to stroke her face.
Soon Adam and May are close friends. Adam is curiously attracted to May’s weird behaviour. May is besotted with Adam and his own subtle oddities, such as his short experimental cannibal lovers film. But a proper romance is not to be. May takes things to far when she purposefully bites Adam’s lip during a make-out session. Too weird for Adam, he moves on to another girl, much to May’s dismay.
May works at veterinary clinic. The receptionist Polly (a scene-stealing Anna Faris) is a kitty kat with a bent personality herself and she lusts after May in her own odd way. Having been rejected by Adam May allows Polly to seduce her. But still true romance alludes May, as Polly is a flake, only out for her own gratification, betraying her (just as Adam did) with an airhead who refers to May as a “fur-reek”.
May only wants to be loved. As her mother had told her if you can’t find a friend then make one. And so she does with a deadly inventive passion, using her surgical and sowing skills.
Although Lucky McKee takes a leaf from Mary Shelley’s legendary tale of the modern Prometheus (Frankenstein), his movie’s slant is wholly original, in fact one of the most original horror movies of the past decade. May is plagued by wallflower anxieties, reminding me of tortured Carrie White, yet Angela Bettis instills such depth and intelligence to a profoundly sad and troubled character that May stands alone, tragic and endearing at the same time.
Lucky McKee’s sense of narrative rhythm makes for compulsive viewing. The superb use of music (such as Breeders’ Oh!) and the occasional fragmented editing frame the movie with a surreal edge. There are few peripheral characters and few locations which lends the movie an insular, dreamlike feel.
Although it is a dark and tragic tale May is infused with a blackly comic streak which only heightens the film’s surrealism. The scenes of gore aren’t particularly disturbing in their realism, but more so in their implication. If you’re squeamish about ocular horror, then beware!
May is one of those unique films existing in its own little universe propelled along by vivid performances and Lucky McKee’s distinctly individual eye; a tenebrous and fascinating story about the fragility of vision, the illusion of love and the tender hooks of madness.
Here is the original theatrical trailer:
* images on this page are courtesy of www.beyondhollywood.com
May (Angela Bettis) is strange and lonely young woman. In the film’s early scenes we learn that her overbearing mother had a key role in shaping her daughter into the troubled adult she’s become. Afflicted by a lazy eye May lives alone with only her old fashioned doll incased in glass who stares mournfully into nothingness, a present of condescension from her mother.
But May soon acquires the aid of contact lenses at the same time finds herself allured by the local mechanic Adam (a bushy-haired Jeremy Sisto in fine form), whom doesn’t even know she exists. In one of the film’s many original and highly memorable scenes May watches as Adam falls asleep at a café table his hand aloft. May has fallen for Adam’s hands and she discretely allows his outstretched hand to stroke her face.
Soon Adam and May are close friends. Adam is curiously attracted to May’s weird behaviour. May is besotted with Adam and his own subtle oddities, such as his short experimental cannibal lovers film. But a proper romance is not to be. May takes things to far when she purposefully bites Adam’s lip during a make-out session. Too weird for Adam, he moves on to another girl, much to May’s dismay.
May works at veterinary clinic. The receptionist Polly (a scene-stealing Anna Faris) is a kitty kat with a bent personality herself and she lusts after May in her own odd way. Having been rejected by Adam May allows Polly to seduce her. But still true romance alludes May, as Polly is a flake, only out for her own gratification, betraying her (just as Adam did) with an airhead who refers to May as a “fur-reek”.
May only wants to be loved. As her mother had told her if you can’t find a friend then make one. And so she does with a deadly inventive passion, using her surgical and sowing skills.
Although Lucky McKee takes a leaf from Mary Shelley’s legendary tale of the modern Prometheus (Frankenstein), his movie’s slant is wholly original, in fact one of the most original horror movies of the past decade. May is plagued by wallflower anxieties, reminding me of tortured Carrie White, yet Angela Bettis instills such depth and intelligence to a profoundly sad and troubled character that May stands alone, tragic and endearing at the same time.
Lucky McKee’s sense of narrative rhythm makes for compulsive viewing. The superb use of music (such as Breeders’ Oh!) and the occasional fragmented editing frame the movie with a surreal edge. There are few peripheral characters and few locations which lends the movie an insular, dreamlike feel.
Although it is a dark and tragic tale May is infused with a blackly comic streak which only heightens the film’s surrealism. The scenes of gore aren’t particularly disturbing in their realism, but more so in their implication. If you’re squeamish about ocular horror, then beware!
May is one of those unique films existing in its own little universe propelled along by vivid performances and Lucky McKee’s distinctly individual eye; a tenebrous and fascinating story about the fragility of vision, the illusion of love and the tender hooks of madness.
Here is the original theatrical trailer:
* images on this page are courtesy of www.beyondhollywood.com
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Comment by Damo
For the Sake of Argument
My Apologetics
Are you sure that this isn't the Angelina Jolie story?
Comment by JohnDoe
Film & TV on DVD
The clever nods to Argento, the painful pacing, pitch black humour of the script and ofcourse the gloriously staged gore add up to make a quality, off centre nerve shaker.
"Nice gams"
Comment by Bryn
Horrorphile
I hope Lucky returns to form, 'cos The Woods was tedious and his Master of Horror entry wasn't that impressive either, altogether too silly.
Comment by Cibbuano
20/20 Filmsight
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Comment by KylieW
Celebrity Obsession
Fabulous review by the way Bryn.
Comment by Bryn
Horrorphile
Kylie, Jeremy's pretty darn cool in this one, but then he always is. Anna Faris you just wanna meet at a party, and Angela Bettis simply commands.
Comment by JohnDoe
Film & TV on DVD
Comment by Bryn
Horrorphile