Anemone

It has been nearly a decade since Daniel Day-Lewis last graced the big screen with his Oscar-nominated performance in Phantom Thread. Since then, he had announced his retirement and practically vanished from the spotlight. For what it’s worth, Phantom Thread is a masterful, career-defining performance that would have made the perfect bookend to one of the greatest acting careers in the history of cinema. 

However, eight years later, Daniel’s son Ronan Day-Lewis has released his feature debut Anemone, which stars the seemingly retired legend in the lead role. The sheer fact that Daniel Day-Lewis’s generational talent is back on our screens makes me appreciate this film’s existence. Despite the break, he truly has not missed a beat. There are two specific monologues in the film that really showcase just how much of a master he still is. These are long, unbroken takes that truly embody why Daniel Day-Lewis is one of the best to ever do it. His form, his expressions, and his mannerisms are unparalleled. Now, are the contents of those monologues especially memorable or emotionally resonant? No. But though there are many problems that rot this promising piece, witnessing one of the greats deliver another excellent performance is not one of them. 

Anemone feels lost as to what it wants to be about. Is it about PTSD? Disassociation? Shame? The hardship of parenting? I have no idea, and I doubt the film knows either. For a two-hour film, it moves at the pace of molasses. At one point, I checked the time thinking we had to be near the end, and we weren’t even halfway through.

Now, visually, Anemone does have some strengths. The cinematography is well-done. A lot of the shots, especially those nature shots and wide establishing frames, look like they could be ripped straight from an oil painting hanging in a museum. But they might have been better-suited there, as they do not add anything to the narrative.

While Daniel Day-Lewis is as great as expected, is this really the movie that should have brought him out of retirement? Outside of helping his son get the project off the ground, I’d say no. I’m sure Anemone is a movie for someone, but that someone just isn’t me. The film is a grueling watch, with no sense of pacing and a frustrating lack of characterization. We don’t learn much about these people beyond a few surface-level details sprinkled throughout. And at the end of the day, aside from those pretty establishing shots, this practically feels like a play. There are five speaking roles, maybe two or three of which are meaningful. I ultimately walked away from this feeling like Ronan Day-Lewis really wanted to make his mark, but that his ambition came at the price of a genuinely compelling story. And while hearing one of the greatest actors of all time scream for two hours in a thick Irish accent might sound intriguing on paper, it certainly will not leave a lasting impression on me.

4/10