Take Shelter (2011)

I hear it so much now. Our national discourse is rich with portent. "It's going to get worse before it gets better", "Something horrible is coming, you'll see", "Soon there will be riots". I'm told these things at conventions and while talking to my neighbors and at breakfast with my mother's old friends. Now Jeff Nichols takes an exhausted phrase in storytelling, ("There's a storm coming") and crafts out of it the movie of the moment. A dark, symbolic mapping of the last five years of the middle-class American experience that's bursting at the mental and financial seams. I have yet to see a finer artistic expression of the current existential crises we face. Michael Shannon is the Noah of our hour, plagued with calamitous visions and barely bearing up under the weight of constant anxiety. In fact, the whole endeavor is buried in quiet distress and prescience. And when the movie finally finds the heart to redeem it's long suffering protagonist, it is through the worst of all possible outcomes. Essential viewing for our times.

Fmovies: This is my first review, I felt compelled to write it due to this absolutely amazing and thought provoking movie. For me it's a work of art, from the acting to the dialogue to the cinematography but more importantly the subject matter. I have dealt with issues in my own family that relate to this movie so it really hit a raw nerve with me. It actually opened my eyes and mind to my own past.

Why this movie has gone under the radar in terms of awards baffles me!? The acting is something I've never seen before and I've watched a lot of movies in my time. It was so real, all the actors were brilliant but Michael Shannon who plays Curtis and Jessica Chastain who plays Sam were outstandingly good. Some of their scenes together had me in tears. The little girl who played their daughter was brilliant to, so believable.

You really must see this movie, I'd go as far as saying it's the best movie I've seen for years. Jeff Nichols has an amazing mind! All I can say is WOW!

Take Shelter is one of the most enriching and well made apocalyptic films I've seen since The Book of Eli. Not only does the art direction perfectly and naturally blend itself with the story, but the subtle and remarkable work of Michael Shannon and the slow, but intricate directing by Jeff Nichols work wonders for the pacing and the final outcome.

There's a grand difference between a story that takes forever to develop for a reason, and a story that takes forever to develop just because. Take Shelter lets its characters work their way into becoming recognizable human beings one step at a time. It's not one of those films that begins to get interesting during the second half because everything suddenly picks up. It's a film that starts out interesting because we are greeted with characters that have humanistic problems, and we are left contemplating the same characters who still occupy problems. It's a genius anomaly of filmmaking, and it's taken with great care here.

Another film that had that same sort of motto was Alexander Payne's The Descendants. Again, it followed the idea of letting its characters develop at a human-like pace before throwing in real climatic elements. Rarely do screenwriters want to create characters that slowly evolve into almost real characters. Most are too busy to jump right into "the good stuff." The story revolves around Curtis LaForche (Shannon), a Ohio construction worker living with his wife (Chastain) and their deaf daughter. Their house is on a wide stretch of land below a vast chunk of open sky. Curtis begins having very surreal and haunting nightmares about a forthcoming storm that has dark, ominous clouds and loud, rip-roaring thunder. In each of his dreams, something hurts him physically or mentally. In one, his own dog attacks him and he can almost feel the pain upon waking up.

Curtis seeks help from multiple doctors, while at the same time, he is trying to shield his dreams from his wife. Jessica Chastain, who has played a supporting role in several films in 2011, is pitch perfect. It's typical for films to sort of blacklist family members that are victim to a crisis caused by their spouse, son, etc. In Extremely Loud and Incredibly Close, the film completely missed its chance to give Sandra Bullock a fantastic performance as the mother. Instead they traded it for more shots of Thomas Horn's autistic character running around aimlessly in New York. Chastain slowly evolves into a true character, compliments of the screenplay. It's nice that the film tries to, not only formulate characters, but showcase their reaction and response to the main events as well.

Michael Shannon is terrific. Simply terrific. He plays the role of a delusional man, unable to decipher dreams from reality very well. He slowly goes insane, without ever being too comical, unbelievable, or over the top. Having a delusional character go over the top sometimes works if you have a capable, sophisticated actor, take Nicolas Cage in Vampire's Kiss, who will bring justice to the role. If Shannon tried to go the Nicolas Cage route in Take Shelter, the film would've derailed faster than the storm coming in.

Why Take Shelter works so unrealistically well is because it forms sequences of forthcoming dread that can't be ignored. The art direction is some of the best I've seen this year, along with Another Earth (but that didn't succeed in storytelling this well). It also works coherently and wonderfully because Shannon is s

Take Shelter fmovies. When done right, few tales are more riveting than a person's descent into madness. Alfred Hitchcock proved this time and time again and Jeff Nichols reinforces it in "Take Shelter," a film likely to have been lauded by the master of suspense himself. Anchored by the performances of Michael Shannon and Jessica Chastain, "Shelter" broods and festers but ultimately thrives on the brink between buildup and utter chaos.

Shannon, far from a household name but a favorite of cinephiles since his head-turning supporting role in "Revolutionary Road," stars as Curtis, a construction worker and father living in a rural town with his wife, Sam (Chastain), and their young daughter, Hannah (Tova Stewart). Their daughter has developed extreme hearing loss and Curtis' job provides them the benefits necessary to afford cochlear implants, but Curtis' recent slew of horrifically real nightmares seems to be the real issue here.

In his dreams, Curtis experiences premonitions of a near-apocalyptic storm that includes odd bird flight formations, motor-oil-like rain, and twisters, and appears to make everyone that shows up in his dreams eerily violent from his dog to complete strangers. The resulting paranoia and occasional physical side affects leads Curtis to seek medical attention, but also to start renovating the storm cellar in his backyard should his visions come true.

The question of whether Curtis is a prophet of sorts or just mentally disturbed drives the film — not much else does. Nichols tells this story largely through a series of character snapshots depicting Curtis riding the ups and downs caused by these nightmares. A few key moments boil the story to a point, namely a riveting scene when Curtis loses it a social luncheon, but the pensive script withholds from us straight through the end like a well-trained indie film.

As we go deeper and deeper with Curtis — and eventually Samantha and Curtis' best friend/co-worker Dewart (Shea Whigham) — we do learn some key details about Curtis' medical history that shed light on the situation, but even in the midst of fact, Nichols never gives us the satisfaction of arriving at any concrete conclusion about his predicament.

With the weight of an immensely introverted character dealing with a mental struggle placed squarely on his shoulders, Shannon proves why you'll only see him with more and more frequency in the future. He makes sure we care about what happens to Curtis, but beyond that he slips back and forth between deserving sympathy and deserving skepticism. He is not simply some Jobian character to whom bad things are happening, and this makes his challenge all the more challenging for the viewer. Credit as well to Nichols for crafting a protagonist far from the norm.

The winner of 2011′s most ubiquitous actress award, Chastain, gets the more alpha-type role instead. She's the good-hearted, open and loving type driven entirely by logic and unafraid of confrontation. Many will identify more with Samantha as a result, which adds a layer of complexity to the film to say the least.

"Take Shelter" offers compelling character-driven suspense, though at times it will try your patience. If you can chalk that up to quintessential indie filmmaking, then by all means do and enjoy this complex and challenging character portrait all the more for it. However, the real thrill of this type of film is that at any moment the bottom might drop out on the entire story (aka the $%&

Take Shelter is a brooding, psychological thriller that does a wonderful job of generating foreboding and unease, while hinting at bigger thematic questions.

Curtis is in construction, a steady guy in a steady job taking care of his family. His mate Dewart tells him, kindly and a little enviously, that he has a good life. That comment comes just as nightmares creep into the daytime for Curtis and the pressures of the possible descent of mental illness, and impending catastrophe, seep into his being. He makes the decision to tell no one but medical professionals. He needs help. But that does not mean his fears are unfounded.

Michael Shannon is superb as mad-or-is-he? Curtis. When he gives voice to his darkest fears in a very public forum, he is the definition of unhinged. Jessica Chastain plays his put-upon wife Samantha, and gets to test her range in a nightmare sequence where she is tempted by a breadknife and the sight of her husband's exposed neck. The look on her face had me pushing back in my seat.

The film opens with big, brooding questions. Is Curtis somehow psychic? Is the approaching doom related to their daughter's illness? Does the ever-present threat of economic ruin somehow inform these impending cataclysmic events? Horror film tropes are employed in the nightmare sequences, as Curtis wakes up just as he is attacked. This becomes slightly predictable at the third dream, and the film sags slightly in the second act. The two-hours plus running time is a tad flabby. But Shannon is commanding, the cinematography eerily beautiful, and the ending deliciously straightforward and ambiguous.

We live in uncertain times. Those who carry on blindly and trust it will be okay may be the maddest of us all. Take Shelter shows one man unravelling, and resonates with all our contemporary worries. Highly recommended.

Take Shelter is an intelligent, thought provoking, nicely shot film featuring an excellent performance by Michael Shannon (an Oscar nomination, surely?), who was also great in director Nichols' previous/first film, Shotgun Stories. The film explores the line between fear and paranoia, or objectivity and subjectivity, as it's protagonist - a blue-collar family man of few words - wrestles with apocalyptic dreams and visions of a strange, possibly supernatural storm, responding to them as best he can as both literal warnings AND possible signs of mental illness. The film has a brooding, at times Hitchcockian atmosphere and a very timely feel to it (think financial and environmental disasters). Set in a rural community, we have plenty of lovely wide shots of the land- and sky-scape (also a strong element of Shotgun Stories) with some added CGI on the latter for the dream/visions. Shannon's performance constitutes at least 50% of this films worth but the rest of the cast are good too. It's a slow mover and, at around two hours and fifteen minutes, perhaps a bit too long. My wife and I did have a few criticisms after watching it (at the Sydney Film Festival), but I wouldn't want to discourage anyone from seeing this film, which will no doubt be a hot topic and bring Nichols deserved recognition when it goes on general release (September 30 2011 in US)