With the embargo lifted on “Anemone,” reactions from the New York Film Festival suggest Ronan Day-Lewis’ film isn’t that great. His father, Daniel Day-Lewis, on the other hand, is drawing widespread praise in nearly every review.
The Guardian (2/5), Variety (negative), Screen (negative), Slant (2/4), THR (mixed),That Shelf (negative), Vulture (mixed), CBR (negative), Looper (mixed)
The Film Stage (positive), IndieWire (B), Rolling Stone (positive), The Telegraph (4/5)
“Anemone” follows Jem (Sean Bean) as he goes after his brother (Daniel Day-Lewis), who is secluded in the woods. Their relationship is complicated — they share a past marked by traumatic, “shattering events” decades earlier, which have left deep familial scars. The film explores the ties among brothers, fathers, and sons, and how generational and personal conflicts ripple through relationships.
“Anemoone” is being described as a strange hybrid of “The Lighthouse” and Lynne Ramsay that culminates in a blatant “Magnolia” biblical rip-off. There’s a nonstop strumming bass score, colorful transitions, and hallucinatory dream sequences, all in service of thin plotting. No surprise, Day-Lewis’ performance is described as “titanic,” bleak but loaded with dark comedy.
What I’m taking from the reviews is that, had the film itself landed stronger, Day-Lewis would be an Oscar lock. As it stands, he’s merely in contention—perhaps even hovering on the outside looking in.
Honestly, the most remarkable thing about “Anemone” may be that it drew Daniel Day-Lewis out of an eight-year retirement. An acting giant who once felt compelled to leave the craft, he now seems poised—hopefully—for more roles in the future.
“Anemone” stars Day-Lewis alongside Sean Bean, Samantha Morton, Samuel Bottomley, and Safia Oakley-Green, with Ben Fordesman (“Love Lies Bleeding”) helming cinematography duties. Limited release is scheduled for October 3 via Focus Features.
