Title: Strange Darling
Director: JT Mollner
Cast: Willa Fitzgerald, Kyle Gallner, Ed Begley Jr., Barbara Hershey, Steven Michael Quezada, Madisen Beaty, Bianca A. Santos, Denise Grayson
Where: In theatres near you
Rating: 3.5 stars
The art of the serial killer thriller has, over the years, teetered between sharp-edged suspense and, well, blunt-force redundancy. This film by JT Mollner not only toys with the rules but rewrites them, tossing in enough red herrings and stylish throwbacks to keep even the most jaded viewer on their toes. Yet, like an overzealous magician, it occasionally gets too caught up in its own tricks.
Opening with a smug little announcement that it was shot entirely on 35mm (because of course, authenticity matters when dealing with fictional psychopaths), the film dives into a sprawling wilderness of nonlinear storytelling, retro vibes, and menacing mustaches. We’re plopped in the middle of a murder spree led by Kyle Gallner’s “Demon” and Willa Fitzgerald’s “Lady”—because who needs names when you have archetypes? From Chapter Three to Chapter Five, then back to One, the film dares us to keep up, nudging and winking at the audience like an overconfident first date who's been watching too much Tarantino.
Gallner and Fitzgerald have enough on-screen chemistry to melt steel handcuffs. Gallner, with a snake-like charm that slithers from menacing to playful. Fitzgerald, meanwhile, imbuing the Lady with a blend of vulnerability and danger that has us rooting for her, even when we’re not entirely sure where we stand. Together, they sizzle—two halves of a blood-soaked coin, oxidizing as they unravel.
But for all its stellar performances and atmospheric swagger, the film stumbles by thinking it's smarter than it is. The film's nonlinear narrative is flaunted so overtly that it practically begs you to figure things out before the third act. By splitting its story into six chapters (and starting with the third), it baits the viewer into piecing together the timeline instead of letting them fully immerse in the characters or suspense. The result is a fractured story that relies more on its structural quirks than genuinely compelling performances or tension.
As much as Mollner wants you to play detective, there’s a nagging feeling that you’re being led down a path littered with breadcrumbs too large to ignore. At its best, the film is a gripping cat-and-mouse game. At its worst, it’s a film that gives away the game too early, leaving you with that all-too-familiar realization that you’ve figured out the twist before it hits.
Yet, beyond the smoke and mirrors, there’s a raw beauty to the film. Cinematographer Giovanni Ribisi drenches every frame in grainy, nostalgic textures. The 1970s-inspired visuals are stunning, with reds slashed across the screen that screams nightmare. And for all its narrative convolution, the film retains a palpable tension, helped by a haunting score and some truly nerve-wracking sequences.
Ultimately, the film feels like a cult classic, destined to be appreciated more by those willing to give it multiple viewings.
