And No More Beauty.
Pearce has captured a real romance between the already explored debate of nature and nurture, with a result so stupendous, that the horror aspect of the film melts away as a cathartic release. There is a lot to admire and little to exhale for, and those bits is where Pearce relies upon old textbook methods, his execution on such dodgy sequences is what stabilizes the film. The first act that flirts wildly on the screen and draws its audience actually denses up the content by using the threat metaphorically and create a tense family drama.
After which the tone shifts into a love story crossing barriers through big antics and elements so clean and sharp that pierces through your heart as these lead characters blend. The last act, which is followed by, the horror drama, that pins down to the last point on mark, this is where Pearce swoops in and saves the day, to fluctuate the tone so fluently is sheer brilliance. Flynn as the beast, or so they say, mirrors the imagination of the outer world of our society, and just like it, the uneasiness and edginess that appeals the viewers is decently fabricated by him.
But he is barely the factor affecting the equation, all the money is on Buckley and no one leaving the screen is going to feel cheated. Her poised falseness plastered by the society and her family is too fake to stand alongside them in the room, so boundless and fearless in her journey, that she grows into one of our worries. Technically, Pearce’s world takes much more than it gives to us, but maybe once a while we ought to give it to something, it is surely in safe hands. Beast is every bit of human and every bit of animal there should be, in us and in them.