So Much Buzzing And No Gossip To Follow.
Gilroy has a daunting task to play, his decision to make majority of people love art by adding an horrifying ingredient into it fails on all levels. Did he stand a chance? Maybe. There was a promising concept and cast in his hands. But, he just wasn’t up for it. This quirky comedy rather than a satirical one, comes off a bit eggy, as it imbalances the tone of the film. And also, I would blame the editing, it snaps from a comic scene to a suspenseful death, it ought to lose its grasp then and there. Plus, working on a familiar structure and no antic to follow, this so called horror never scares you. There is very less art to devour in here. For instance, despite of not sharing a definite theme, Gilroy’s world is perpetually justifying, from all the scandals to the controversies, he puts each element on trial and there are no bars held on condemning them.
Another thing to explore in detail is Gyllenhaal’s sharp three dimensional character. The whole physic of a critic is deconstructed brick by brick in every step which is Gilroy’s ace in the game. Now, there is his and your window to draw in and snatch away the laughs. Gyllenhaal’s very nature of criticizing every final bit is what factors the most on keeping this light and breezy; even a temporary spectacles given to him is judged without any control over himself. Speaking of whom, his performance is a straight out bullet.
Without any flinching, on writhing with fear or resisting the seduction power, he fabricates his performance with a weary eyes that speaks volumes and a flamboyant body language. He can switch back to that comic tone and jump in on a horrifying snap easily, and it’s that commitment of doing so, that makes him help communicate his ideologies fluently. Parallel to him, lies Russo’s character who sticks by to her performance with a panache and attitude that only Colette can and does match her on screen (kisses!).
Colette is completely underused or misused, either way she doesn’t feel a threat as a character in storytelling to make you love or hate her. Ashten gets a much bigger role and stays true to it for the most part of it where the rest of the cast like Malkovich, Diggs and Dyer joins the Colette club. Surprisingly, for a film about art, there is very little creativity and originality on narration.
Each of those tensed horror staged show whispers nothing but cliched montages that obviously fails to conjure your fears. Is there a deep down message or a layer worth scratching on? No, it is definitely not something that we haven’t already seen before. The only thing to be surprised and delighted about would be that it isn’t unnecessarily dark or poignant, the chirpiness plastered by these characters as a public figure gets you down to that last station without any definite reason. Velvet Buzzsaw has a slick title and a concept, beyond that, this exhibition ought to be shut down.