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by Daniel BaRnes

@barnesOnFilm

morally corrupt trapping company. When Glass gets ripped to shreds in a horrifying bear attack, he’s left for dead in the snowy wilderness by a ruthless co-worker, but recovers enough to pursue a relentless When it comes to guitar players, I generally prefer path toward vengeance. maestros of sweet riffs and solid pop hooks over the Tom Hardy plays Glass’ treacherous adversary, endless, filigreed soloing of self-styled “guitar gods.” and with his wild bug-eyes, bushy mustache and Play the song, pal, don’t torture it to death. over-the-top accent, he might as well be playing That same personal preference for excellence Yosemite Sam. In fact, no matter how grotesque the within context over groove-killing grandstanding also film gets, it’s so consistently ridiculous (at one point, extends to the world of cinematographers. My favorite Glass literally goes over a waterfall) that it plays like contemporary directors of photography, from John Seale an R-rated Looney Tunes short stretched out to 156 to Roger Deakins to Bradford Young, integrate their minutes. distinct personal styles into the rhythm and tone of the Although abetted by special effects, DiCaprio film, rather than overshadowing it. clearly suffers for his art here, whether Emmanuel Lubezki (The Tree of Life, submerging himself in ice cold water Gravity, Birdman), on the other hand, is or climbing inside of a horse the Joe Satriani of cinematographers— carcass for warmth. It’s impresno matter how much I objectively No matter how sive as a stunt, but that doesn’t admire his technical prowess, as grotesque the film make it good acting—it should well as the polish and beauty of take more than some Super his images, the results always gets, it’s so consistently Dave-style peril to win a major leave me cold. All I can see when ridiculous that it plays acting award. I watch a Lubezki-lensed film is like an R-rated Looney The film works as a visceral Lubezki—the film itself becomes experience, yet on the whole The secondary to the swooning imagery. Tunes short. Revenant is a frustrating mess. Lubezki’s oppressive style There is a change jar of messages finds the perfect partner in Alejandro regarding the pitiless beauty of nature González Iñárritu, a hopelessly heavyand the savagery of man, but Iñárritu only handed director who never met a scene he knows how to lay it on thick, so it amounts to a lot couldn’t suffocate. Much like their previous collaboraof puffed-up finger-wagging. More than anything, tion, last year’s Best Picture winner Birdman, the Iñárritu excels at hectoring and exhausting his audigruesome adventure The Revenant is heavy on visual ence, and The Revenant is no exception—he’s good gimmickry and pulses with an aggravating energy, but it at grinding you to a nub, and not much else. Ω also feels strangely empty and unnecessary. Leonardo DiCaprio is getting the usual Oscar buzz for his highly physical lead performance, but like Lubezki’s cinematography, it falls more into the “neat trick/who cares” category. DiCaprio plays Hugh Glass, Poor Fair Good Very excellent a mostly silent single father working as a guide for a Good

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