Destroyer
| December 27, 2018 (Israel)
Director: Karyn KusamaWriter: Phil Hay, Matt ManfrediStars: Nicole Kidman, Toby Kebbell, Tatiana Maslany
Summary: A police detective reconnects with people from an undercover assignment in her distant past in order to make peace.
Countries: United StatesLanguages: English
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File No – YTS921-10416
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Destroyer 2018 Movie Review
Destroyer 2018, Your eyes will immediately be drawn to Nicole Kidman’s stunning beauty in the opening moments of Destroyer. This is the second (and maybe even third) thing you’ll notice about Destroyer. The opening scene in Karyn Kusama’s dark retribution policier is an extreme close-up of the face of the film’s renowned lead actress, yet we may not even identify her. There is no mistaking that Nicole Kidman is not present here; her skin is pockmarked and rough, and her eyes are heavy and aged. Kidman sags, stutters, and rasps as she plays Erin Bell, a police officer whose many years of hard living seem to have gotten the best of her, in this odd and unnerving picture. That’s a really peculiar change to see. The lack of realism in the makeup is jarring. But I can’t say for sure it wasn’t done on purpose, since the performance is also very stylized and doesn’t attempt to mimic realism in any way. My guess is that Kusama and Kidman are less interested in enveloping us than they are in challenging us.
Erin is initially seen when she stumbles to the site of a recent murder after waking up dazed in her vehicle. The top cops don’t want her there since it’s beyond of her jurisdiction and she has a bad appearance. Neither the identity of the victim nor the motive for his death have been revealed. Erin casually mentions to the other police officers that she may have a lead on the perpetrator. They don’t give a hoot about anything but getting her out of there. According to rumours, she has a well-deserved reputation for being a heavy drinker. But there’s something more that appears to be a curse over this lady.
Soon it becomes clear that the opening murder is related to a series of events that took place around sixteen years earlier, when Erin was a young, enthusiastic sheriff’s deputy working undercover with a cool, collected FBI agent called Chris (Sebastian Stan) to bring down a deadly gang of bank robbers. Chris and Erin, who have scarcely spent any time together, are rehearsing their cover narrative for how they met; they will pretend to be both hardened criminals seeking for adventure and a hopelessly in love couple.
The head of that group, Silas (Toby Kebbell, a psychopathic sadist), may have returned to town. Erin, a vision of self-loathing determination, travels into the current day in search of Silas by reconnecting with the surviving members of their former crew. As she goes, she attempts to recall what transpired during their first meeting. These fragments of the tale are not only disorganised, but also conflicting with one another. In reality, Erin and Chris were portraying false selves at all times. It seems that the false image of life they projected became reality, at least to some extent, in both positive and negative ways.
Some may find the film’s disjointed structure frustrating, as it does in Destroyer. Furthermore, the experiences that Erin has in the present day have an innately artificial, dreamy quality to them. Everyone has developed their own unique personalities, although they all seem to be troubled by the events of the past. Even though lawbreakers are more likely to run away, assume new identities, or just disappear, she seems to have no trouble tracking them down. It’s as if they’re all stuck in the same mental and spiritual purgatory. There are still some of them out there making deals. (At one point, Erin is in the thick of a heist; Kusama films it with an emphasis not on suspense or clarity, but on the confines and distance of the protagonist’s viewpoint; Erin can hardly see what’s happening, and so can we. The scene might be a metaphor for the film as a whole.
The reunions between Erin and her former gang are like stops along the Way of the Cross. Each each experience seems to lower her even deeper. Destroyer is intentionally irritating due to the surrealism of these sequences and the choppily complicated nature of its flashback structure, but the uneasy, unmoored tone draws us through; we feel like we’re always on the verge of a revelation that never quite arrives. This wounded, obsessive woman is well portrayed by Kidman. She portrays both frailty and intractability with her breathless, teeth-gnashing rasp. She seems to be on the verge of collapse at any moment, but we also get the impression that we’re seeing someone who has been through hell and back. Kusama highlights Erin’s immobility and the eerie emptiness of her look, making her seem cruel and uncaring, almost like a corpse.
Which is exactly where Destroyer cornered me. Something about Kidman’s expression here is almost Kabuki. She always sounds like she’s hiding behind an act when she talks. Because this is ultimately more than simply a lady who has experienced a rough life, it may even have symbolic significance. She is the embodiment of destruction; she is death.