The actor’s live-wire performance in Brandon Cronenberg’s outlandish satire about super-rich tourists being cloned on a holiday from hell is worth the admission price alone
. Just as wealth and poverty clash on this island, so divided souls do battle here, locked in masked struggle with themselves as the rainy season draws ever nearer.tackles issues of transferred identities with a sticky tactility that keeps things visceral rather than cerebral. From the opening scenes in which cinematographer Karim Hussain turns the world upside down while Tim Hecker’s woozy score thumps and groans, it’s clear we’re in for a heady experience.
Certainly, there’s a nightmarish logic at work, underpinning the oedipal contortions and hallucinogenic hardcore visions that gradually overwhelm our antihero. But there’s also a jet-black streak of Buñuelian bourgeois-baiting comedy, evidenced most hilariously after James finally loses his rag when faced with a gunpoint reading of a terrible review of his terrible novel. He may be OK with the killing of innocents, but this is a step too far.
At the centre of it all is Goth, who looks set to swallow the screen whole. Whether she’s slyly enticing James to follow his own ego into her arms or screaming like an avenging angel from the bonnet of an open-topped car, her ability to shift from the understated to the unhinged is breathtaking. Dan Martin’s squelchy “special makeup and figurative effects” may keep the audience on their toes, but it’s Goth who provides the real fireworks.
to create a body of work that is growing and mutating in terrifically sardonic fashion. It may not be for everyone, but I dived deep into
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