| A24 | Release Date: April 14, 2023 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
28
Mixed:
18
Negative:
5
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Critic Reviews
Its visual imagination is wonderfully unrestrained, compelling in its extremes even when it is so clearly indebted to every movie that Aster hoovered up to get here. Its tone is impressively steadfast in its desire to repel one moment, entrance the next. And its performances are across-the-board astounding in their commitment.
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The PlaylistApr 13, 2023
It’s a huge, huge swing, and Aster skeptics will likely scoff at the egotism of it all. But for those of us who’ve been at the receiving end of a classic Jewish-mother guilt trip, Beau is Afraid will serve as affirmation, cinematic therapy, and the most relatably terrifying thing they’ve ever seen.
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There is an overarching story and some obvious themes, including the extreme fear suggested in the film’s title. There’s also anxiety, masculinity, toxic femininity, toxic mothers, the road not taken, etc. But there’s also plenty going on beneath the surface, clues that a movie that is already surrealist enough, might be even more surreal than you can catch in one viewing.
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IndieWireApr 10, 2023
It’s Phoenix who keeps you glued even through the film’s sometimes challenging longueurs, in a performance as fully, insanely committed as any he’s ever given. If the character invites more cringing pity than emotional investment, that’s more to do with the distancing effect of Aster’s surreal approach than anything lacking in Phoenix’s raw, gaping wound of a characterization.
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SlashfilmApr 10, 2023
Beau is Afraid is big, and weird, and kind of wonderful. There will be those who simply cannot stand the fraught world Aster has created here, and there will be others who are fully on board with what the filmmaker is dishing out. No matter the reaction, this is a film that begs for conversation and analysis and plenty of pondering. And it's more accessible than you might think, despite all the lunacy.
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Like many an auteur filmmaker’s passion project, it’s a huge swing that doesn’t always fully connect, and one that undoubtedly peaks too soon. But at a time when safe-bet sequels, franchise extensions and movies built on brand recognition are more prevalent than ever, the fact that something so singular exists and succeeds on its own terms is something to be celebrated.
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It’s a more demanding narrative to navigate than the director’s previous efforts, and not all of it works with its sly subtlety. Yet there’s sensational artistry at work, with Aster peppering much of his storytelling in the background of scenes (photos on walls, informative signs, etc.) that a lot of folks might not even notice.
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Beau Is Afraid is very much a black comedy that utilizes well-placed horror techniques–Aster has a solid command of tension and loves to swing his camera to and fro to create a sense of vulnerability. Aster’s direction and sense of humor, the latter of which emerged more prominently in Midsommar, just seem more at home in a comedy.
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Beau Is Afraid takes a long road — and one with a lot of yelling and sniveling along the way — to not get very far. That could, of course, be the point. But the simpering sad sack Beau — despite Phoenix’s typically committed and sympathetic performance — remains curiously void, stuck in a one-note nightmare.
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