If you know me, you know I am a massive fan of writer/director Ari Aster. From his dark and twisted short-film Strange Things About the Johnson back in the day to the horrors and madness of his recent films Hereditary and Midsommar, Aster has always made works of art. His bold, original style is incredibly rewarding, sparking discussions that last long after its runtime. You could say the same thing about his newest feature, Beau Is Afraid. However, it falls noticeably short of his previous efforts.

First things first, I (fittingly) went to see this movie with my mom. We were both pumped to see how Aster would use the largest budget in A24’s history. And to give credit where credit is due, I am glad Beau Is Afraid has the budget it does because it is a beautifully crafted film. In particular, the work of production designer Fiona Crombie is a highlight of the film. She crafts various eye-popping sets that will be instantly recognizable for years to come. I especially adore her work during the first act with Beau’s apartment complex and what is being hailed as “the animated sequence” halfway through the film. Another technical element that is shining on full display is the cinematography, brilliantly captured by Pawel Pogorzelski. Pogorzelski has paired up with Aster for each of his previous ventures, and this may be the duo's best work yet. I love the way the camera placements drop us into Beau’s world and perspective with multiple uses of a point of view tracking shot to fully immerse us into his odyssey. With both Midsommar and Hereditary, Pogorzelski injected uses of the “god’s eye view” angle which returns here for some breathtaking visual sequences. This compliments extended takes lasting over a minute, giving the actors opportunities to truly showcase their abilities uninterrupted.

One of those actors who truly eats up the scenery in yet another monumental performance is our lead, Joaquin Phoenix. While I have always been a massive fan of his varied filmography, I particularly love his more kooky turns since Phoenix can showcase his brilliant comedic timing and body comedy. Beau is another addition to his wonderfully weird performances as a middle-aged man plagued by extreme anxiety and DEEP rooted mommy issues. He seeks help from his therapist not just for his recent thoughts of drinking mouthwash but also for an upcoming visit to his overbearing mother, who raised him as an only child after his father's death. Beau's sad and lonely life is evident as he returns to his rundown apartment after the therapy session. This sets off the chaotic dive into madness that the remaining two hours and forty minutes or so contains. Throughout the rest of the film, Phoenix carries the weight of the story on his shoulders and manages to make the audience feel the constant anxiety and fear that Beau experiences. Phoenix's ability to convey complex emotions and psychological states is unmatched, and his performance in this film is no exception. The intensity at which he maintains his character's psychological torment for the duration of the film is a testament to his skill as an actor. 

Along the way, Beau encounters a friendly family (Nathan Lane, Amy Ryan, Kylie Rogers, and Denis Ménochet) at which point the film reaches its comedic high. During this session of the film we reach our comedic high. Lane seems to just having the time of his life playing Roger. Ryan adds some additional comedy and much-needed heart in her role as Grace. Roger’s Toni and Ménochet’s Jeeves also get to shine and help progress Beau’s journey for better or worse. As a result of spending time with this wacky family, Beau's physical, psychological, and emotional limits are tested as he journeys to places he never imagined he would go.

However, my issues with this story come into full swing as this part of the film concludes. Ultimately, Beau Is Afraid is a challenging and unsettling film that does not provide easy answers or clear resolutions. Starting when Beau finds himself a part of a play he is watching until the ultimate conclusion, I found myself as lost and deserted on Beau’s journey as he was. For most of the film, I was deeply invested in the chaotic storyline and intriguing characters, always within arm’s reach to the film’s message. However, from this point on, the film was never able to hit its original stride again.

As mentioned above, I was fully on the film's wavelength as we explored Beau's psyche, fears, and anxieties ingrained in him from a young age due to his father's untimely death and his mother's overbearing nature. The film suggests that these issues have contributed to his current state of unhappiness and emotional instability. Aster seems to view the world as a dark and complex place, where individuals are plagued by their inner demons and struggle to find meaning and purpose in life. However, the culmination of these fears in the film's final act is a major misstep to me.

Without going into spoilers, the final act continued to pull me out of the story. It kept taking giant risks that felt completely out of left field. What I adored about Aster’s previous works, and even this one leading up to this final 90 minutes, is how real they felt. The notion that his horror could occur in our world is what makes his films truly scary and unnerving. But the final 90 minutes of Beau Is Afraid threw this all away and left me disconnected and disjointed. This comes to full fruition at our final scene, which features Beau in a boat. At this point, I am a full wingspan away and frankly, uninvested in whatever the conclusion of the saga has to present.

I have no issues with long movies. In fact, last year two of my top three movies clocked in around the 3+ hour mark. What I love about those movies is their ability to captivate me throughout a massive runtime and to add elements that make me want to revisit the film. Beau Is Afraid, on the other hand, is pleading for its audience to rewatch this epic to pick up on new elements and hidden details each time. The issue is that the film lacks consistent emotion and connectivity to its main character, premise, and plot to make you want to return to it. I was invested while following Beau on his path, but I never felt like I understood the why or how of it. Ultimately, this left me detached in the second half, from the theater scene to the ultimate conclusion I never saw coming.

All in all, the nearly three-hour runtime of Beau Is Afraid can be a challenge to sit through. Although Aster and company do their best to keep you engaged with its phenomenal technical aspects, the film's pacing can feel excruciating. While it remains gripping, keeping you on the edge of your seat and curious about what will happen next, the off-the-walls direction and lack of focus taints the overall enjoyment significantly by the end. Don’t get me wrong, I am all for directors being able to showcase their unrestricted visions on film. However, it is clear that some restraint from A24 could have helped the film become more compelling for a wider array of audiences. I will probably see this movie again, but I am not going to go out of my way to embark once more this journey anytime soon.

6/10