Home Entertainment Extravaganza “Love Lies Bleeding” is a queer crime thriller without much spark – Monomaxos

“Love Lies Bleeding” is a queer crime thriller without much spark – Monomaxos

“Love Lies Bleeding” is a queer crime thriller without much spark

 – Monomaxos

The new film Love lies bleeding (in theaters March 8) looks great. director Rose glass casts its New Mexico setting in a dirty light streaked with red. This studied courage fits this in an uncanny way Clint Mansellis the haunting score, very sexy roaring and pulsating. This rich aesthetic serves a catchy, bold premise: Kristen Stewart plays gym employee Lou, who falls in love with bodybuilder Jackie (The Mandalorianis Katy O'Brian), and the two soon find themselves caught up in a cruel chain of criminal violence. As was the case with many of its Sundance brethren this year, Love lies bleeding is a riot full of atmosphere.

But unfortunately, mood doesn't make a film. At least not if it is not precisely balanced and structured. (Terrence Malick is kind of a vibes guy, after all.) Glass's film is caught in a frustrating middle ground between mood and story. Watch out Love lies bleeding becomes a test of patience as the viewer waits for the plot to conform to the film's good looks or for those stylish aspects to further unfold into elegant abstraction. Instead, the film limps along, revealing more and more inventions

Without some modern extras, Love lies bleeding is a film we have seen many times. It's a small town crime thriller where one bad thing leads to even worse things. Ed HarrisThe villain, a shooting range owner with some dark side jobs, seems to have been taken from a Tarantino catalogue. The same goes for a gym groupie, Daisy (Anna Baryshnikov), which would fit right in with the Manson girls from Once upon a time…in Hollywood. One half expects to see it Michael Madsen passing in the dusty background on the way to a bizarre monologue

There's certainly nothing wrong with this form, and it's not unnoticeable that Glass is trying to contemporary the genre and refocus his gaze. Certainly very few of the 1990s films Love lies bleeding puts queerness front and center (consciously or unconsciously), not to mention Glass's graphic zeal. But the coolness of the film's structure contrasts poorly with the thin formula of its narrative. In a strange way, Love lives bleeding could play better if it were simpler; As it is, the film creates anticipation of a true and daring vision, which it fails to fulfill

Stewart and O'Brian are at least excellent to watch. It's fun to see the former in this particular mode, cautious and excited and full of secrets. She has an appealing relationship with O'Brian and believably conveys a lust that turns into love. But Glass' script keeps Jackie largely opaque. A dark past is one thing; No real recognizable motivation is different. Jackie's passion for bodybuilding is certainly clear, but that's pretty much all we know about the character. It becomes increasingly difficult to care for her as she spirals toward ruin

Of course, Glass isn't necessarily aiming for deep character drama here. Love lies bleeding is a spree film, a frenzy of sex and violence that is all about having fun. But the film doesn't have enough power to really get things going. Glass meanders along, staging all the expected scenes on their way to an absurd finale that the film doesn't really deserve. There was an enthusiastic response at Sundance calling the film shocking and wild, but there's actually no surprise here; Attempts to mix up the squares seem routine and mechanical, as if programmed for post-screening Twitter reactions. Glass' first film, Saint Maud, was a superior portrait of passion gone awry. This film ends in flames Love lies bleeding is too mushy to ever catch fire.



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