by A.O. Scott
“You’ve got a good life, Curtis,” says Dewart, Curtis’s best friend and co-worker. (Dewart is played by Shea Whigham, Curtis by the amazing Michael Shannon.) “I think that’s the best compliment you can give a man: take a look at his life and say, ‘That’s good.’ ”
A sinister corollary to Dewart’s homespun truism might be that the greatest fear a man can experience is that of losing the good life he has. It is this anxiety, which afflicts Curtis in especially virulent form, that defines the mood of “Take Shelter,” Jeff Nichols’s remarkable new film. It is a quiet, relentless exploration of the latent (and not so latent) terrors that bedevil contemporary American life, a horror movie that will trouble your sleep not with visions of monsters but with a more familiar dread.
We like to think that individually and collectively, we have it pretty good, but it is harder and harder to allay the suspicion that a looming disaster — economic or environmental, human or divine — might come along and destroy it all. Normalcy can feel awfully precarious, like a comforting dream blotting out a nightmarish reality.
What if everything that Curtis values were to be suddenly swept away? We are not talking about a life of luxury and ease, but about modest comforts and reasonable expectations: a decent job with health benefits and vacation time, a loving family, a house of your own. Curtis has all of this. He works in heavy construction and comes home to the tidy home he shares with his wife, Samantha (Jessica Chastain), and their daughter, Hannah (Tova Stewart), who is deaf.
Without being a hokey paragon of proletarian virtue — Mr. Shannon’s scarecrow frame and sharply angled features seem designed to repel sentimentality — Curtis is clearly a dedicated employee, a loyal friend, a doting husband and a gentle father. This makes the intensity of his terror, and his helpless, potentially destructive reactions to it, all the more alarming.
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“You’ve got a good life, Curtis,” says Dewart, Curtis’s best friend and co-worker. (Dewart is played by Shea Whigham, Curtis by the amazing Michael Shannon.) “I think that’s the best compliment you can give a man: take a look at his life and say, ‘That’s good.’ ”
A sinister corollary to Dewart’s homespun truism might be that the greatest fear a man can experience is that of losing the good life he has. It is this anxiety, which afflicts Curtis in especially virulent form, that defines the mood of “Take Shelter,” Jeff Nichols’s remarkable new film. It is a quiet, relentless exploration of the latent (and not so latent) terrors that bedevil contemporary American life, a horror movie that will trouble your sleep not with visions of monsters but with a more familiar dread. We like to think that individually and collectively, we have it pretty good, but it is harder and harder to allay the suspicion that a looming disaster — economic or environmental, human or divine — might come along and destroy it all. Normalcy can feel awfully precarious, like a comforting dream blotting out a nightmarish reality.
What if everything that Curtis values were to be suddenly swept away? We are not talking about a life of luxury and ease, but about modest comforts and reasonable expectations: a decent job with health benefits and vacation time, a loving family, a house of your own. Curtis has all of this. He works in heavy construction and comes home to the tidy home he shares with his wife, Samantha (Jessica Chastain), and their daughter, Hannah (Tova Stewart), who is deaf.
Without being a hokey paragon of proletarian virtue — Mr. Shannon’s scarecrow frame and sharply angled features seem designed to repel sentimentality — Curtis is clearly a dedicated employee, a loyal friend, a doting husband and a gentle father. This makes the intensity of his terror, and his helpless, potentially destructive reactions to it, all the more alarming.
Read more:
