Horror stories, especially when diverted to the movie screen, usually get boring rather soon, at least in my opinion. Every once in a while, however, someone breaks out of the old mold and we get something interesting, even fascinating. Such is the case with “Take Shelter,” where Jeff Nichols’ screenplay brings reality so close to imagination that he has created a gripping movie. It opens here today.
Actually, Nichols scores on two levels. His story is sometimes scary, and its various aspects bump into one another often enough to keep it that way. As a director, Nichols brings an amazing performance from actor Michael Shannon, one that I think will make him a factor in the Academy Award race.
Shannon, as Curtis, a construction worker, is not matinee-idol handsome. He has a certain amount of ruggedness, and a touch of awkwardness, that make him appear very average. At a bus stop, he’d probably be unnoticeable. Jessica Chastain, as his wife, Samantha, is a perfect match. She’s pretty, but not striking, and she’s just as average as he is.
Both rise above that when it comes to their daughter, Hannah (Tova Stewart), who is deaf. Their love for her is the most obvious thing about them, but it’s a private issue; only the neighbors might know how much time and affection they bestow upon her.
And then, Curtis begins to dream. He sees and hears storms, he’s rained upon with a light brown liquid that looks like 10W-50 motor oil. The storm is fierce, with sky-wide lightning, vicious peals of thunder, scary winds. When he wakes, he’s disconcerted, bathed in sweat, thinking about the storm, frightened by it. One dream sees him attacked by his dog, and he takes unnatural action that receives an unnatural lack of attention.
Two coincidences push the plot forward. A minor one is the existence of an old-fashioned storm cellar on his property. Curtis begins to improve and expand it. A major one is the introduction of his mother (a splendid performance by Kathy Baker). She’s in an institution whose purpose is falsely ameliorated by the attached, euphemistic description, “assisted-living facility.” She’s a paranoid scizophrenic, having been diagnosed in her mid-30s. Guess how old Curtis is.
One of the things that Nichols does to bring the story of “Taking Shelter” up a few notches is the character of Curtis. He resists seeking treatment, tries to shrug off the aura of his mother, but is concerned. He studies the disease, talks to physicians, but becomes more fearful of his dreams. He is driven to complete the shelter, so driven that he destroys the loyal friendship of his co-worker, Dewart (steady, right-on work by Shea Wigham), alienates his kind, right-thinking boss (Robert Longstreet), frightens the loving Samantha. Nichols builds the tension excellently, using special effects sparingly but effectively and takes us to a very scary climax. An excellent film.
Taking Shelter opens today on many screens
— Joe