Dust Bunny

FULL SPOILER-FREE REVIEW @ https://movieswetextedabout.com/dust-bunny-movie-review-mads-mikkelsen-and-sophie-sloan-elevate-a-familiar-tale/ "Dust Bunny doesn't reinvent the wheel or say something profoundly new about grief and trauma, but it manages to be a satisfying experience. It's a "silly" film in its conception, and its VFX might not dazzle, but it's all executed with evident affection and clarity of purpose. There's a positive and clear message about sensitive matters, wrapped in a somewhat humorous and innocent layer that, with the due warning about "accessible violence", can be appreciated by various ages. Bryan Fuller reminds us that the monsters under the bed are as real as the pain that feeds them, and that true courage lies not in having no fear, but in finding someone who believes in our truth enough to help us turn on the light." Rating: B-

Picture the noir-esque world of “Blade Runner” (1982) reimagined by a mischievous youngster with a macabre streak, augmented with the lavish stylings of assorted filmmaking auteurs and fused with the menacingly beastly trappings of “Gremlins” (1984), and you’ve got a good idea what to expect out of this debut feature from writer-director Bryan Fuller. Ten-year-old Aurora (newcomer Sophie Sloan) is terrified of the nefarious monster that lives under her bed, despite assurances from her well-meaning foster parents that no such creature exists. But the young New Yorker has good reason to trust her apprehensions, especially when she discovers that the voracious dust bunny has eaten both of her caregivers – just as it had with previous pairs of foster parents. Consequently, Aurora knows something must be done to vanquish the beast, so she opts to contract for the services of her mysterious neighbor (Mads Mikkelsen), a ninja-like hitman, to kill it. She’s aware of the intrepid warrior’s skills, having clandestinely witnessed him take down an army of “monsters” in a Chinatown back alley late one night (those so-called monsters were actually adversaries charged with eliminating him, but, given that they were cloaked in the costume of a Chinese dragon, it’s easy to see how a 10-year-old’s perception and imagination might run away with her). Needless to say, the hitman is skeptical about taking a contract bankrolled by a child (with money she matter-of-factly stole from a church collection plate), but he reluctantly relents, especially since they’re each now simultaneously pursuing (and being pursued) by monsters of their own (and, ironically, of their own making, too), even if their pursuers assume fundamentally different physical forms. Together, this unlikely duo embarks on a quest to slay their respective demons, a journey marked by colorful scenarios and eccentric supporting characters, including the hitman’s mysterious “handler” (Sigourney Weaver), one of the contract killer’s “inconspicuously conspicuous” rivals (David Dastmalchian) and an enigmatic child custody services case worker who isn’t everything she claims to be (Sheila Atim). And it all takes place in that whimsical, shadowy, deceptively sinister version of the Big Apple described above, an exquisitely designed backdrop fittingly distinguished by its positively stunning production design and framed by its absolutely gorgeous cinematography, elements not unlike those found in the works of Tim Burton, Bill Condon, Baz Luhrmann and the Coen Brothers. However, for all of the film’s meticulous attention to style, it doesn’t live up to the same standard when it comes to the narrative and screenwriting. While this would-be campy horror romp strives to merge aspects of fairytale sweetness (as seen, for example, in the emerging quasi-parental relationship between Aurora and her new friend) with the edginess of the works of the Brothers Grimm (but on steroids), it never quite gets the mix right, occasionally becoming circular and largely remaining underdeveloped or unresolved. In addition, for all its visual strength, there are times when the sound quality could use some shoring up. And it should also be noted that, despite this offering’s young protagonist, it’s not really an option for viewers in that age group (unless, of course, they’re clearly wise beyond their years and are capable of handling and appreciating material suitable for such maturity). To its credit, “Dust Bunny” makes some modestly insightful observations about the monsters who chase us and how we might address that challenge (especially when we consider the nature and sources of those demons), and good arguments could be made in favor of its impressive performances by Sloan, Weaver and Mikkelsen, as well as its two Independent Spirit Award nominations for best first feature and (particularly) best cinematography. It’s just unfortunate that the substance of its meat doesn’t match the flavor of its gravy, but, as this was the filmmaker’s first big screen effort, perhaps it made for good practice at preparing a delicious meal overall the next time around. In the meantime, proceed with caution the next time you go looking under your bed.