Strange Darling Review: A Hyper-Stylish Thriller

“Strange Darling” smothers us with its style right from the jump. After an opening crawl unapologetically “borrowed” from the opening of the original “Texas Chain Saw Massacre” informs us we’re about to see the story of a notorious serial killer, we get title cards giving us a taste of what’s to come. These cards tell us that the film was “Shot entirely on 35mm,” and that what we’re about to watch is a “thriller in six chapters.” But wait, there’s more! These chapters are presented to us out of order, a decision that deliberately obscures what the heck is going on here for almost a full hour. It’s clever, it’s fun, it’s kind of exhausting. Written and directed by JT Mollner, “Strange Darling” is a bloody burst of Tarantino pop; a thrill-show that kicks you in the teeth whenever it can and assumes you’ll ask for more. Not everything works — for example, there are multiple moments where characters are firing up cigs with Zippo lighters that seem painfully choreographed to look “cool” — but the film is so energetic and intense that it’s hard to not go along for the ride.

“Strange Darling” is one of those movies where the less you know, the more effective the end result will be — which is great for the movie and a real pain in the ass for me, the reviewer, because I have to dance around a bunch of stuff without trying to sound like I’m taking the easy way out. Presented in linear fashion, Mollner’s film would be rather simple. It’s the unchronological aspect, which feels ported over from “Pulp Fiction” and all the countless Tarantino clones that popped-up in the wake of that film (anyone remember “2 Days in the Valley”? Anyone?) the raises the stakes and pushes “Strange Darling” over the top in the best possible way. Sure, it’s a tad manipulative, but what’s wrong with that? All movies are manipulative in their own way. Why not have some fun with it? 

Before we go any further, let me just say, Giovanni Ribisi: I was not familiar with your game. Ribisi is primarily known as a character actor who specializes in playing squirrely weirdos (even when he’s playing a normal guy in “Saving Private Ryan” he seems kind of odd), but as it turns out, he’s also one hell of a cinematographer. Ribisi is a producer on “Strange Darling,” and he also shot the entire film, and his photography is one of the best things the movie has going for it. Ribisi’s 35mm footage pops off the screen, splashing our eyeballs with rich reds, glorious grain, and neon lighting that drenches the actors like liquid. This is a gorgeous movie, and the visual stunningness of it all crashes up against the dark, violent subject matter like waves hitting a rocky beach. The contrast between bright lights/big murder is a feature, not a bug, and every frame of “Strange Darling” feels like it is crafted to burn its way into your brain. Mollner and Ribisi seem like kids in a candy store here, high on sugary confections as they embrace every trick in the book (you want De Palma-esque split diopter shots? You got ’em, baby!).

There’s a part of me — the cynical part, I suppose — that worries this is the sizzle without the steak; all flash, no fire. But film is a visual medium, and while that might sound like a painfully obvious statement, it’s amazing how many modern directors seem to forget it. Not “Strange Darling” — it wants you to bathe in all this visual splendor. And if you don’t like the story being told, well, at least you’ll have plenty to feast your eyes on. 

Speaking of the story, “Strange Darling” kicks off in high-octane fashion with a chase scene. A bloodied woman, credited only as The Lady and played by Willa Fitzgerald, is speeding away in a cherry-red car, pursued by a truck-driving, gun-toting man, billed as The Demon and played by Kyle Gallner. This guy wants this girl bad, and she is desperate to get away. Immediately, you are drawing conclusions as to what’s going on here — without even a line of dialogue, you think you know who these characters are and what they want. And “Strange Darling” then proceeds to pull the rug out from under you again and again and again. 

After the initial chase scene, “Strange Darling” starts presenting us with its out-of-order chapters, providing more insight while keeping also keeping us in the dark. Mollner’s script deliberately plays around with gender roles and sexual politics, going places that will no doubt make some viewers squirm. Just when you think you have a handle on things, “Strange Darling” presents another twist to make you question what you’re seeing. It’s disorienting and fun … until it isn’t. While the film’s unbeatable style remains prevalent through its entire runtime, Mollner’s script starts to run out of gas the further we go along. Once all the cards are finally laid on the table, “Strange Darling” loses its kooky energy and the pacing slightly sags. I get it: there was only so long “Strange Darling” could keep this going. I just wish the second half of the film could match the dizzying highs of the first. 

Regardless, “Strange Darling” is so slick and clever that you’ll probably be willing to overlook its more undercooked ingredients. Fitzgerald is dynamite in a very tricky role that requires her to do some difficult things. Gallner, who was recently so good at being so scary in the criminally underseen “The Passenger,” has an equally difficult balancing act here, and he, too, pulls it off. So much of what the leads are doing in the film relies on our perceptions of them; we draw conclusions based on how they present themselves and what they say, and then have to question those conclusions further down the road. 

Perhaps the best thing to say about “Strange Darling” is that it never cheats. It may shock and surprise you, but you’ll never feel like the movie isn’t playing fair. Indeed, I imagine a fun aspect of this movie will be to go back and watch it a second time to pick up on what you missed the first time around. You can either roll your eyes at the abundance of style and reliance on twists, or you can embrace the audacity of it all. I chose the latter, and I had a heck of a good time as a result. 

/Film Rating: 7.5 out of 10

“Strange Darling” opens in theaters on August 23, 2024. Solana Token Creator