Daniel Day-Lewis's comeback movie Anemone is a confusing mess review

"Daniel Day-Lewis, one of the finest actors of his generation, has emerged from his eight-year retirement to star in Anemone, the feature debut of his son, Ronan Day-Lewis. You can't exactly dance around the fact such a film likely wouldn't exist without the grace of this familial connection (the film also stars major talents Sean Bean and Samantha Morton). Any industry-wide structural issues aside, what Anemone is and what it fails to be is much better explained by the fact Ronan is otherwise a painter, and that he co-wrote his script with his father, who's spent a career finessing a piercing, primordial kind of male anguish. Anemone tangles up these aspects in a rather confused, disjointed way."

"It is, for the most part, constructed out of isolated (sometimes surreal) images of desolation, isolation, and regret: a cabin so deep in the woods it's nearly consumed by it; a timely apparition of an unearthly, mythic creature; a violent, Old Testament hailstorm. Its characters rarely speak, but when they do, it's less about the words themselves than the anger in their delivery."

Daniel Day-Lewis returned from an eight-year retirement to star in Anemone, the feature debut of his son Ronan Day-Lewis. The film also features Sean Bean and Samantha Morton. Ronan is primarily a painter and co-wrote the script with his father, whose career has refined a piercing, primordial kind of male anguish. The film assembles isolated, sometimes surreal images of desolation, isolation, and regret: a cabin nearly consumed by woods, an unearthly mythic apparition, and a violent Old Testament hailstorm. Characters rarely speak, and speech is defined more by the anger of delivery than by language. The result is a confused, disjointed work shaped by familial collaboration and painterly instincts.

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