All work and no play makes Rory O’Hara a dull boy — which is to say, one can scarcely overlook the connections between Sean Durkin’s subtly unsettling second feature, “The Nest,” and Stanley Kubric…
a traditional genre movie after all, although it may feel like one going in. Those seeking boogie-boogie scares would do well to adjust their expectations. Commercial prospects are iffier than shares in a Norwegian fish farm during a recession, which is a shame, since the meticulously mounted film won’t translate well to the small screen, and feels like a no-go for streaming.
“It’s not your job to worry,” mom tells her. “Leave that to your husband.” It’s a telling line, and one that reflects widespread attitudes of the period in which “The Nest” is set. Durkin, who spent time in both England and the U.S. as a child, sets the film in the mid-1980s, when women were expected to “honor” their husbands, and divorce wasn’t nearly so common.
He’s found a posh mansion in Surrey, England, which he rents for more than he can afford. Allison’s concern heightens when she sees the place, whereas the kids are intimidated by the house itself, which could be haunted. The suggestion is a red herring, mind you, although a handful of scenes involving Allison’s horse may leave permanent scars upon your psyche.
When she married Rory, Allison never imagined that her own identity would be so eclipsed by what pop philosopher Alain de Botton dubbed “status anxiety.” His is a seemingly incurable case: The harder Rory tries to prove himself to others, the more dangerous he becomes to his own family. Tapping into the dark side of his own allure, Law’s great in the role, although the scenes Durkin uses to dramatize Rory’s downward spiral will drive most folks to boredom.
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