Review: Antlers falls victim to its own pursuit of deeper purpose.
—a film shot in the thick of the Trump era, delayed by COVID, and now stumbling into multiplexes with its tattered message borne aloft. Though a decidedly 2018 creation,could still speak to the here and now. The movie concerns, vaguely, mounting environmental cataclysm and, less vaguely, the drug epidemics that have gripped America in the last two decades. Produced byis a monster movie with something to say. Or, at least, that was the intention.
The film takes us to the rainy reaches of Oregon, a depressed coastal town ravaged by opioids and meth where the hulking wrecks of past industry symbolize the havoc visited upon this once-pristine natural landscape. Something in the earth, or something very old andthe earth, is angry. That fury and anguish take the form of a hulking creature of retribution. Just as Godzilla was born of an irradiated Japan, the ungodly menace ofis based on the short story “The Quiet Boy,” by.
That someone who’s suffered as mightily as Julia would return so directly to that suffering’s source is, perhaps, a matter up for some psychological debate. But that character’s confused emotional logic is the least of the narrative strains made by, which attempts to invoke nothing less than the collective grief of America’s Indigenous people to tell its allegorical story of reckoning.
The myth of the Wendigo—an evil spirit that can turn humans into blood-thirsty beasts—is more the lore of eastern and central North America. But it’s been imported to Oregon for. He is almost entirely absent from the rest of the film, which focuses squarely on the white characters as they navigate a horror of economic ruin and the fallout of the narcotic plague—and, of course, that pesky trauma.has barely any room left to do any real thinking.
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