Dani (Florence Pugh) and Christian (Jack Reynor) are a young American couple with a relationship on the brink of falling apart. But after a family tragedy keeps them together, a grieving Dani invites herself to join Christian and his friends on a trip to a once-in-a-lifetime midsummer festival in a remote Swedish village. What begins as a carefree summer holiday in a land of eternal sunlight takes a sinister turn when the insular villagers invite their guests to partake in festivities that render the pastoral paradise increasingly unnerving and viscerally disturbing.

Also Known As: Midsommar - loputon yö, Fehér éjszakák, Ritüel, Солнцестояние, Мидсоммар, Saules kultas, Midsommar: solstice d'été, Sredina Leta Bosnia and, Midsommar - Il villaggio dei dannati, Midsommar: El terror no espera la noche, Сонцестояння, Saulgriezu kults, Midsommar - O Ritual, Midsommar. W bialy dzien, Festival straha, Sredina leta, Midsommar - O Mal Não Espera a Noite, Midsommar

Leave a Reply


  • oc

    Moral to the story, do not befriend any Swedes.

  • bizina-mgaloblishvili
    bizina mgaloblishvili

    Why, oh why does IMBD not have an option to give zero stars? I was beyond excited to see this movie. I waited for each preview trailer, bought midnight premier tickets, couldn’t wait to see it. I enjoyed Hereditary, but I thought the ending was terrible. I should have taken that as a hint.This movie was horrible-just horrible. It was like watching paint dry. It was way too long, the acting is an abomination, and no matter how good the cinematography is, it can’t possibly make up for the ludicrous mess of a film I just saw. DO NOT listen to the critic reviews, or headlines. This movie is not scary, and it’s certainly not suspenseful-because there’s no climax to lead up to. What’s worse, the ending smacks of repeat from Aster’s previous film. He’s a one-trick pony, and this film seals the deal. I didn’t care about any of the characters, despite unresolved and totally unexplored backstory. They are complete idiots for staying for the entire pagan festival. Every activity, every scene is based on drugs, and why would anyone do any drugs while isolated in a village that seems to glorify death?The entire premise of the movie is predicated on an event that, had it not happened, none of the ensuing events would ever have taken place. Is this a yearly festival, or is it every 90 years? There sure were an awful lot of pictures of May Queens…the plot holes are endless. Out-of-place movie references (apparently this electricity-free village has a TV and access to movies from the 90s!) Rituals and games that make no sense and are never explained. Characters standing around in silence for no reason with bizarre looks on their faces. Gross shots of old naked people. Stupid jokes that made no one in the theater laugh. In fact, the entire audience was laughing at all the parts that were supposed to be serious moments. This is usually an indication that the film director has FAILED MISERABLY.So many missed opportunities for a good horror film that were totally abandoned. And don’t give me this garbage that the movie was supposed to be some sort of metaphor for a failed relationship. That just insults the intelligence of everyone who makes the unfortunate mistake of viewing this film. This movie was a waste of time, money, and my intellect. I would have rather stayed home and played with my dog, or cleaned my bathroom, or bashed my head against the wall. Really anything else besides see this movie.

    • anonymous

      this is real sun worshipers its noy some fun scary movie but its meant to inform you on ritualistic sun worship satanic in nature

  • jemma-taylor
    jemma taylor

    This one was a tough judge fr me. Film just never seemed to take off. Just sort of glided on the edge of meh. It’s def one of the better of this genre of fliks. Too much bibble babble and not enough oomph. Some decent gore. Could’ve been better. Was just too long I think.

  • jason-phillips
    jason phillips

    Good: Hands down the production and cinematography are amazing and truly comes to life over the course of the film to emphasize the film’s purpose/themes. The cast overall is great, each one playing their role respectively whether it is an outsider or a cult member, especially Florence Pugh who goes through a lot over the course of the film.Bad: The film moves relatively at a great pace until near the 3rd act and then takes its time to craft its ending and at times dragged and started to get stale. There are so many clues/culture traditions learned through brief images of paintings and drawings in the community. Although this serves great for analysis and more viewings as a first watch it is a lot to comprehend and can be confusing near the end if you do not remember some of the drawings. It goes without saying that the characters do not make the smartest of decisions and there are quite a few horror cliches.Overall: The film triumphs in creating a beautiful yet disturbing atmosphere in broad daylight. There are powerful performances filled with emotions. However, the run-time goes a little past its run time and an ending that was not the most satisfying. Although I’ll be back for more viewings to see the easter eggs and hidden clues, I personally prefer “Hereditary” over this one.3.5/5*Pro-Tip look at the painting/drawings from right to left *I strongly do not recommend this to children, 18+ mainly because of the slow-burn and material.

  • ganna-protsenko
    ganna protsenko

    First time seeing the film. I feel almost a little bit conflicted. The first hour took me a while to adjust.This film is a horror film. It is not a horror film in the same vein of Hereditary in the sense of how much a person will suffer and endure when all goes wrong around them.This film is a horror film in the sense that people will adjust to the situations around them in order to maintain sanity. Horrible situations will occur to everyone in their life and everyone will respond differently. Midsommar explores how and why a person would change their frame of mind. You start with one view of the world and those around you, and at the end of “the experience” you are left with yourself in the world – you happily accept where you are because that is the only place you can be at that moment.

  • helene-andreassen-nguyen
    helene andreassen nguyen

    It seems exactly like my kinda thing as this is my kind of folk horror, but it just felt like there was something missing. The layers of Hereditary weren’t there and poor Pugh just spent 2 1/2 hours crying and wailing, which is a waste of her talents too. Pretty disappointed after all the hype and my own excitement for his second film.

  • lennarth-thygesen
    lennarth thygesen

    All of the people who enjoy the film praise it for the cinematography, which was uninspired, for it’s breaching of multiple genres, which was done but rather poorly, and for being about the breakup, not just the horror, which, it was, but had a ridiculous stance on the break up.The positives in the film were the acting and the FX department. I wish I could give credit to the production designer but putting the tune for sacrifice on the sacrificial character’s costume isn’t clever, it’s tacky. It’s like having a name tag saying “Hi, my name is Murderer” in a slasher film. The lighting decision to have a horror film be in broad daylight is neither original (Wicker Man) nor well done (it is very straightforward camera angles other than a singular upside down windshield shot).The breaching of multiple genres is a good thing and could be praised, if it was done in a way that complimented the strengths of the genres involved and conveyed the message. Neither of these happened. Instead, random lines of humor were included interspersed between gratuitously graphic on screen killings. Then there were completley purposeless orgy sequences with explicit nudity that I have read were included as comic relief according to the director. How is disgusting nudity of about 15 elderly women for a full minute on screen funny? Are you trying to shock us into laughter because we have no other way to respond to something so depraved? And if it wasn’t meant for comedy (even though Aster publicly said it was) then what could have been the purpose when the same plot point could have been covered by them being clothed onlookers? The perversion and level of gratuitous filth in this movie were terrible, but the fact that they didn’t even progress the story or theme was what was the most disturbing part. It wasn’t even for something valuable to the production.Lastly, this whole ‘its really a break up movie’ gimmick could have been okay, if you weren’t asking us to side with the girl who murdered her partner of 3 and a half years instead of a cult member who has killed all of her friends. And what was the boyfriend’s crime? Wanting out of a relationship that was toxic, but waiting to break up because the girls entire family just died? I get that he is a jerk about the thesis thing, but in terms of the relationship, he was beyond supportive. She was the one who cheated with the swedish friend first and who accused him of forgetting her birthday, which, he actually didn’t do. So what exactly is Aster wanting us to enjoy about his take on the break up where the ‘heroine’ murdered the one person who didn’t think he should break up with her right after she lost three family members?Beyond all of that, the movie was underwhelming in terms of scares or terror. It was neither a thriller nor a collection of jump scares or chase scenes. Now those have been done to death (pun intended) by the horror genre, but what was scary in this movie? The people killing themselves of their own volition? The off screen disappearances?I was disgusted by the depravity of this film and entirely disappointed in it’s lack of any statement about the views or choices of the characters or situation. It was a movie with plot points and then it ended. That was as deep as this film got.

  • elias-tuominen
    elias tuominen

    I suspect that reviewers who believe this movie to be the weirdest, most deranged and tripped-out film they’ve ever seen have not watched many movies. I recommend you watch “The Wicker Man” from 1973, Alejandro Jodorowsky’s “The Holy Mountain” and Sergei Parajanov’s “The Color of Pomegranates” before you watch this watered down, pretentious murk in order to get a sense of how movies can truly be mind-altering. The “story” is essentially every cliché of the slasher genre mashed together: a group of young people naively go into the wilderness (Sweden, very scary place lol) and encounter messed up stuff. They each die one by one and, SPOILER ALERT, there is a “final girl” who survives in the end. The rest of this cliché story is fluff. If you think, based on the trailer, that much of this film will mirror the original Wicker Man, you are exactly right. There is even a big fire at the end where a guy gets burned alive. There is a fine line between homage and rip-off and this may a great example of a film that slips over the edge into complete rip-off territory. I won’t even go into all the logical loopholes in the story and the scenario, or point out that none of the customs line up at all with ancient Scandinavian rituals (thus making one wonder why this even takes place in Sweden to begin with, like, why couldn’t this be a cult in upstate NY?) because there’s no point. The script doesn’t even attempt to be deep, the research here is sub-Wikepedia level, and the characters are cookie-cutter types you’ve seen before in a million other horror movies. One logical question I would ask, however, is how come all of these people are anthropology PhD students going to research Scandinavian paganism but none of them speak Swedish??!?!? Has the writer ever even talked to someone with a PhD??? All this said, Florence Pugh is a talented actress and does a great job with the shallow script. She transcends the material and shows that she can be a powerful dramatic actress. The cinematography is gorgeous too. The editing and sound are pitch perfect. I was especially taken by the set design, the use of furniture and quirky wall paintings to give the film a sense of intricate beauty to contrast with the horror. This is all really fabulous and the people who worked on these aspects of the film should be commended. It is all cosmetic, however. Without the mask of beautiful production and a gifted actress, the director/ writer Aster has absolutely nothing going on here. “Hereditary” was a very good, solid horror film and I wonder if Aster didn’t rush into this sophomore effort too soon. This seems like a script he could have banged out in a night, especially since it feels like something made out of other films. It also seems that Aster repeats some of the same tricks from “Hereditary”- using shocking, Gaspar Noé-like violence and relying on making his audience feel uncomfortable at the sight of incongruously naked people running around. These stock images are going to get old really fast for him, he needs to work on building up to scares that really pay off. There will be people who love this director, who are swept away by the cool style and photography of this film or who have simply never seen any of the hundreds of other movies out there with strange imagery and creepy paganism, and these people are going to think this movie is a mind-blower. That’s nice, but please watch “The Wicker Man” from 1973 first before you fall in love with this dumpster fire.

  • uyeongho

    There are images in Midsommar that I don’t think I’ll ever be able to get out of my head. Its as colorful as a Mario Bava film, and yet its as hallucinogenic as a David Lynch film, and Midsommar above all else is an Ari Aster film. Aster’s unique style of changing the tone about every 30 minutes is on full display here. If you are of the classic horror ilk, I’m sure you’ll be thinking about this movie for the rest of the year as I am. The live on your phone generation might not have the patience to watch a slow burn shocker like this, and that’s ok, they’ve got another Annabelle movie they can see instead. Midsommar is a must see in the theater, movies like this don’t come around that often, enjoy.

  • giovanni-driessen
    giovanni driessen

    This isn’t just a horror movie. It’s a story on how to deal with grief. How things aren’t always what they seem to be. How suffering is more tolerable when you’re surrounded by others who try to hear you. It’s a lot of things. It’s even very funny in some parts. I love this film despite some flaws because it’s very innovative. Many people took a risk in making it and it turned out great. (Caution: gore and nudity, and even those weren’t repulsive like they usually are in many movies)

  • riikka-peltoniemi
    riikka peltoniemi

    I rarely write reviews here. But this movie was SO bad…The opening sequence was very effective. But the next two hours were unbelievably awful, filled with empty cult drivel and scenes that had no connection. It was as if the director had some great ideas for visuals and thought he could put them all together, hoping it made sense. Well, it doesn’t. One of the rare movies where I’ve wanted to yell at the screen, “This is so stupid!”

  • eija-siren
    eija siren

    Go to this movie on mushrooms and see how long you last. That is my entire review.

  • william-vega
    william vega

    Maybe I need some more time to think about it, but as of right now I am very disappointed in this film. I didn’t hate it, I loved the cinematography, shot composition, and Florence Pugh’s performance was pretty fantastic. Some of the other actors were good and some others were not so good. I love Ari Aster and his direction, and I loved his previous film Hereditary, which makes this one even more disappointing. I thought it was pretty repetitive and boring, there were a lot of scenes I felt could’ve been cut, and it probably would’ve been better. Also, I thought the film was quite pretentious and self indulgent. This was one of my most anticipated films of the year and I wish I could’ve liked it more.

  • barbara-olsen
    barbara olsen

    This scary movie was becoming something of a talking point before I even saw a trailer, and when I did it looked like a Wicker Man style movie, I was definitely looking forward to it, written and directed by Ari Aster (Hereditary). Basically, college student Dani Ardor (Lady Macbeth’s Florence Pugh) suffers from severe emotional trauma during winter, after her sister kills their parents and commits suicide, flooding the house with carbon monoxide from a car. This trauma adds further pressure to her relationship with her anthropology graduate student boyfriend Christian Hughes (Jack Reynor), who is already emotionally distant. The following summer, Dani attends a party with Christian and friends Mark (Will Poulter) and Josh (William Jackson Harper). Christian and his friends are invited to attend a midsummer celebration in Hälsingland, Sweden, by their Swedish friend Pelle (Vilhelm Blomgren). It only occurs once every ninety years at Pelle’s ancestral commune, the Hårga. Dani finds out about the trip, and Christian awkwardly invites her to join them. The group arrives at the commune and together they take a psilocybin concoction offered by Pelle’s brother, Ingemar (Hampus Hallberg). They also meet English couple Simon (Archie Madekwe) and Connie (Ellora Torchia), they were invited to attend the festivities by Ingemar. The psilocybin causes Dani to have a bad trip and she hallucinates about her dead sister. The group are initially accepting of the commune’s peaceful if strange nature, routines and rituals. But then tensions rise after Pelle brings them to witness an ättestupa ritual in which the two elderly commune members commit senicide by leaping from a clifftop. When the male elder fails to die as a result of the fall, several members crush his skull with a mallet. The group are disturbed after witnessing this ritual, but they decide to stay, at the behest of Pelle, and because Josh is writing a thesis about the Hårga. The next day, Simon and Connie disappear, but the group is assured they were taken to the train station. Christian decides to copy Josh’s thesis on the Hårga, causing a rift between them. Josh wants more information from an elder on the commune’s ancient runic practices, which are based on paintings made by Ruben (Levente Puczko-Smith), a deformed member selectively born incestuously, he is considered an oracle. Mark unwittingly urinates on an ancestral tree where ashes are scattered, he is scolded by Ulf (Henrik Norlen), and later lured away by a female member, never to be seen again. That night, Josh sneaks into a temple to photograph scriptures in a mysterious book, he is distracted by a partially nude man wearing Mark’s skinned face, he is hit over the head with a hammer and dragged away. The next day Dani is invited to partake a maypole dancing competition, all taking part must continue dancing until they fall and are eliminated. At the same time, Christian is drugged and groomed to participate in a ritual in which he impregnates virginal commune member Maja (Isabelle Grill) whilst being watched and surrounded by naked female elders. Dani wins the competition and is crowned the “May Queen”. Following her victory, she discovers Christian having sex with Maja, she has a panic attack, she is surrounded by several of the Hårga women who wail with her. A disoriented Christian realises what is going on, he runs out naked and hides in a shed, there he discovers Josh’s leg, and Simon who has been ritually dismembered as a blood eagle. Christian is found by an elder and then paralyzed with an unknown drug. The cult explains that, at the conclusion of the ritual, nine human sacrifices must be offered. The first four victims are outsiders, therefore Josh, Mark, Connie, and Simon. The next four victims are cult members, two senicide elders, a still-living Ingemar, and a second living volunteer. As the May Queen, Dani must choose the ninth and final victim, either an outsider or a lottery-selected cult member. Bitter and heartbroken, Dani chooses to sacrifice Christian. He is stuffed into a disembowelled brown bear and placed in a yellow temple alongside the other sacrifices. The temple is filled with straw bales and set alight; the cult celebrates the completion of their ritual. Dani at first sobs in horror but gradually begins to smile. Also starring Anna Åström as Karin, Gunnel Fred as Siv, Julia Ragnarsson as Inga, Liv Mjönes as Ulla, Gabi Fon as Dani’s Mother, and Zsolt Bojári as Dani’s Father. Pugh gives a good performance as the emotionally damaged young woman, Reynor is reasonable as her unworthy boyfriend, and Poulter and other supporting cast members do well also. It is very simple, people brought to a secluded location to be carefree, with a pagan cult behaving strangely and slowly becoming more suspicious and sinister, the twist here is that it in a location where the sun never sets, you can see obvious similarities to The Wicker Man, it is perhaps a little too long, and as a “slow burner” it is maybe too slow at times, but the continuing strangeness, occasional shocks and tension keeps going, a reasonable folk horror. Worth watching!

  • tapio-keskitalo-suominen
    tapio keskitalo suominen

    I’m struggling to understand why people are giving this good reviews. The movie is so slow and there’s not a single horrifying moment in the film. No suspense at all. An absolute drag filled with some of the weirdest scenes you’ll ever see. Weird to a level where I couldn’t stop laughing while I was watching it.

  • ludia-alusandratou
    ludia alusandratou

    “I have always felt held. By a family… a real family. Do you feel held?”One of the most universal and innately human desires is a sense of belonging. The human brain is not meant to be alone; we are evolved to be a part of something. Belonging fundamentally allows us to form our own sense of identity, establish social connections through community, and provides us with love, attention, security, and purpose. Perhaps more importantly, a lack of belonging is when we begin to lose sense of ourselves and who we are. This loss of touch with who we are when the world around us suddenly disappears… this slight loss of footing, dip in reality, always feeling somewhat displaced and perpetually unsettled… this encapsulates the mood of Ari Aster’s Midsommar.Aster has delivered a psychedelic genre-defying horror fable that wins its audience by creeping into our darkest corners of angst, longing, and loneliness. At its core, the film is about a young woman who copes with crippling anxiety rooted in a desperate and fearful need for love as she comes to terms with the end of a relationship. It’s about anxiety, fear of abandonment, and moving on. It is a meditation on human belonging; an operatic catharsis played on the strings of emotional dependency; a journey both inward and outward, to finally let go of something that was never meant to be.Midsommar is not a mystery or suspense movie. It unveils itself unapologetically, as if the filmmaker has no intention of hiding anything from us in the first place (the entire movie is visually depicted almost constantly in the background on walls or tapestries). Yet the film establishes its own rhythm and pacing. As the characters embark on a mushroom trip and grow weightless and spacey, so do we get entranced by the beautiful Swedish settings and sounds-at times indistinguishable from flutes being played by characters on-screen, and at other times, woven with a spell-binding aural hypnosis (listen to “Attestupan” without falling into a meditative trip).Like Hereditary before it, the casting is exceptional. Florence Pugh portrays and embodies isolation and anxiety so effectively that the ideas feel nearly concrete. Her part as Dani demands an incredible range and her commitment to the role is apparent. Her character has an air of desperation to her. A perfect casting for a lonely soul. Jack Reynor, a critical piece to this opera as the unlikeable and detached boyfriend, also delivers in a solid performance that leaves us conflicted, or at the very least, challenged.If Satan and Cannibal Corpse got together to shoot Blue Valentine in Sweden, I’d imagine it would be something like Midsommar. Aster taps into a dark and vulnerable place-he opens the door to chests you may have locked away and have had no intention of coming back to. If you’ve gone through a break-up recently, it may resonate even stronger. It’s uncomfortable, unpleasant, but ultimately, cathartic.The director goes on to describe the film as almost a perverse wish-fulfillment fantasy. You see what you want to see. The inclusion of this overarching idea bears a universal relevance to how we can behave in the midst of the most toxic relationships. Entering the ethereal fog of Hårga perhaps a metaphor for willfully indulging in our clouded judgment to escape our fears.If Hereditary was a thematic exploration of inescapable fate, Midsommar is a tighter, more centered thematic reflection on emotional dependence. The thought given to the characters and script and the details within the various shots, symbols, and sounds will all surely leave many viewers coming back for more.Plan to watch it twice, if for nothing else, to drink the tea again.

  • roza-gorenc
    roza gorenc

    The title says it all. The movie, all 2+ hours of it, is absolutely gorgeous. Shot by shot Ari Aster constructs a film that is top notch in terms of visuals.However, once one gets past the images – it’s clear this film, and its premise is quite hollow. Not much story to be found, and when it is there – it is quite muddled.As a fan of Aster’s previous work, Hereditary, I had high hopes for this one. This did not meet expectations.

  • manuela-olivares-corominas
    manuela olivares corominas

    Wow… This film felt like I had dreamt it entirely. I had read the script before the film was released so I knew what happened for the most part, but oh my… From beginning to end I literally could not take my eyes off of the screen. This did not feel like a horror film. It felt like something of a much higher caliber. Some sort of immensely twisted fairy tale with dramatic and humorous tones, and then completely drenched in terror at the very end. The film was like Wicker Man and Hereditary had an evil child. Some parts of the film even reminded me of the original Snow White (the wooden carving backdrop opening up, introducing the scene; Dani running scared through the forest). It was unbelievable.. and I mean that in the best way possible. It was a little tropy but my goodness, it was hard to tell because it didn’t feel like a horror for most of the film until the end. It was just incredible. Also, the ambiguity and the look on who was really good or evil was amazing. This is a film that will really get the gears in your head grinding.A+

  • oleksandr-tereshchenko
    oleksandr tereshchenko

    Midsommar Century 16 Theater Watched 7/16/19Horror is my favorite genre to see done right, because it’s so rarely done right. Director and writer Ari Aster had something very special with his first film Hereditary. Perhaps the film most recommended to me in the last few years. I have yet to see it, but after last night’s screening of his 2nd and newest feature: Midsommar; I made immediate plans to rectify that.It’s easy to just say a group of friends travel to Europe to write their college thesis on European pagan traditions but that would be a disservice to the early story Aster creates. I want to keep the plot description mum, but the early parts of this film are stricken with grief, angst, and some of the most realistic portrayals of gaslighting I’ve seen on film. These are the emotional bricks the story is constructed on. I never found myself waiting for them to just hurry up and go to Europe because the story is so effectively written and performed.Once they arrive to the small Swedish commune, the entire story starts shifting into something else entirely. We just get a feeling in our gut, all these smiling white people. Their all white garb, white teeth, white hair. It’s an uneasy amount of white and cleanliness, positioned on gorgeous green hills speckled with bright blue, red, pink and purple flowers. Aster’s use of color brilliantly fills the screen. It’s a rather unsettling feeling: all this natural beauty and we can’t take comfort in any of it.When we learn about the Midsommar festivities planned it seems like a big party for the students, we in the audience see the madness through the flowers. Things get turned to 11 quickly. We see people jumping to their deaths from towering cliffs, faces get smashed with hammers, faces get cutoff and worn as masks, menstrual blood consumed, incredibly graphic, brutal violence.Tonally it’s a trip because there is also so much humor injected into the script. Mainly the joke of the kids freaking out and their smiling, white (oh so white) hosts calming them down; assuring them that this is all merely tradition. Smashing someone’s head open with a large mallet is simply setting their willing soul free, it’s not a big deal. You see? He likes getting his brains bashed in! It beats growing old in a nursing home! The things these kids get put through are wonderfully dreadful.Midsommar is a splendid display of young talent. Florence Pugh’s portrayal of Dani is incredible. Her expressions are mesmerizing, she conveys so much emotion with her face. I felt a little less compelled by her boyfriend Christian played by Jack Reynor. We’re very clearly not supposed to like his character, but I didn’t like him due to his performance. It felt stiff and at times a little forced. Physically he was perfect for the role, but his delivery and timing left me feeling sort of…meh. Luckily the writing is so strong I never get too caught up in that. Even if one performance feels a little less compelling, the important part is the gang of young friends’ performances and personalities work as a whole.Aster’s ability to pace a 2-and-a-half-hour film and make it feel short is the genius. Every single scene feels important, there are so many details and carefully crafted instances of foreshadowing. Not heavy handed, but deft and nerve racking. In a time where attention spans are shrinking it’s rewarding and refreshing to see a film not only take it’s time but to do so in a way that makes the film work even better. It’s not self-indulgent, it’s vulnerable and enticing. I want to see this one again just to see exactly what he sets up earlier in the film. Midsommar is upsetting, grotesque, beautiful and humorous all at once. It’s a great horror film and being as though it’s only Aster’s 2nd feature, the next step in his career is an exciting thought.

  • makar-tsimbal
    makar tsimbal

    ‘Midsommar (2019)’ takes a very long time to get to a very predictable and, frankly, uninteresting point. It’s just so slow and, honestly, boring. There’s nothing all that engaging about the story, and perhaps its most – or, maybe, only – intriguing thematic aspect is reserved until the very end – the final shot, even. This seems to be as spur-of-the-moment for the film as the decision that leads to it does for the central character. The general theming of the feature isn’t all that strong or cohesive and its events don’t act as an ‘allegory’ for the theme, either. This leads to an aimless vibe, a sense of almost making things up as they go along. This creates some issues when everything starts tying together, especially in terms of overall motivation. I mean, some things in here just aren’t believable. Plus there’s no actual mystery driving the plot, so there’s never any tension or suspense. I will say that one sequence is properly horrifying, punctuated by gruesome imagery not for the feint of heart, but it stands as the sole example of something that comes close to getting under your skin and, as such, feels sort of out of place, in a way. It’s also brushed off quite quickly, despite being revisited a few times. Still, the film isn’t scary. It’s not disturbing, either. Most of the ‘horror’ just comes from the unfamiliarity of the situation – that being a foreign festival presented as a long-held, normalised tradition – from an outside perspective. On top of that, you don’t care about the characters – who often make odd, audience-distancing decisions – enough to be affected when things inevitably take a darker turn. That’s a bit of an issue. Obviously, the piece is well made, no-one’s debating that. It has an effective, if slightly obnoxious, score and makes some distinct visual choices. However, technical competence cannot make up for narrative failure. The opposite of this seems to be the erroneous basis for most of the movie’s somehow glowing reviews. Of course, if you really like it, then you like it and that’s good for you. I’m just saying that there comes a point where you have to stop awarding, essentially, participation points to well-made but empty fare; most pictures are at least competently constructed and even those that aren’t can be enjoyable – or more enjoyable than something like this, at least. The film isn’t engaging, entertaining or even close to terrifying, despite its undeniable technical competence. Also, the influences of ‘The Wicker Man (1973)’ are unmistakable – it actually has quite a bit in common with ‘The Wicker Man (2006)’, as well. Look, horror doesn’t have to scare, as such, but it should do something. This doesn’t really do anything and it takes a very long time to do it, too. 4/10

  • aleksandra-kisseljov
    aleksandra kisseljov

    When I first saw the trailer, I immediately thought of The Wicker Man. I pushed that aside because I wanted to see the movie without unfair comparisons in mind.I thought the precredit scenes set up an interesting scenario and dealt with the relationship issues in a complex way.Once we get into the heart of the movie, everything goes down hill…very, very, very slowly. Without giving anything away, everything you expect to happen in this movie does. There are no real surprises and….yeah, The Wickerman.I love slow movies, and I dont mind long running lengths. But, there was just no reason for this movie to be 2 hours and 30 minutes. I get that the director loves to watch women sob, but we don’t really need all of that.I was also disappointed in how the main characters were handled. I hoped they would be given some depth, but they ended up becoming cliche carictures.There will be people who find the film full of wonderful, shocking surprises. Those people have probably not delved into horror (or folk horror) in any substantial way. Its all been done before, so why not save your time and money?

  • gaspar-zatikyan
    gaspar zatikyan

    Gorgeous visuals, creative cinematography and solid performances but the movie feels long winded and disconnected. The characters are underdeveloped and the plot is a little all over the place. The movie does however manage to be intentionally funny at times but not scary or very disturbing.

  • melania-kryza
    melania kryza

    I believe that even after just his second feature Ari Aster’s name will be synonymous with bizarre/polarizing/dreadful cinema; his name might even become an adjective/verb or a categorization for film altogether (Lynchian, for instance).This movie kind of left about the same impression Hereditary left me with after the first view. After my first viewing of Hereditary I felt that it was just good, after a few more viewings and analyses, I now consider it a genius take on trauma and grief. I have a feeling this is what I’m going to come to realize from Midsommar. It was definitely insane with surreal imagery, but I honestly wish there was more backstory to Dani and her family; if there was more of a fleshed out concept about Dani and her family I feel like the movie would’ve have a more circular conclusion. But now knowing the kind of filmmaker Aster is shaping up to be, I don’t think closure is what he aims for at all, leaving just enough to the imagination to push your buttons even further.Florence Pugh humanizes the surreal scenes with her presence. She’s a great anchor for the plot.Definitely going to be taking another look at this.

  • baadaamii-jydev
    baadaamii jydev

    Just watch the movie, don’t read or watch anything about it before hand.

  • sozon-axiotes
    sozon axiotes

    I’m not sure how but the movie had me on edge the entire time. You have to enjoy cinematography to really enjoy this. I left the movie like I just came down from a high. The whole thing felt like a bad trip afterwards, I was pleased and not at the same time but I think that’s how we’re meant to feel. It’s a good change from super hero movies and terribly made horror movies.

  • kimberly-mason
    kimberly mason

    I’ll start this off with a warning. If you’re a mainstream horror fan, you will not like this. It is not The Conjuring, it does not have jump scares, it is a slow movie. It’s not scary in the way that most horror films are scary. It doesn’t frighten you. It felt traumatic. This is an artsy movie for sure. If you don’t like that, don’t see it.Florence Pugh is absolutely phenomenal. She provides the heart for the film and is what keeps the audience emotionally invensted in such a disturbing film. It’s one of the greatest horror performances that I have ever seen.The cinematography is stunningly gorgeous. I’ve never seen a film look so gory and grotesque and yet absolutely beatiful at the same time. It’s some of the best cinematography that I’ve seen in years. The art direction is also phenomenal in providing us with a floral, candy colored, nightmare world.And Ari Aster’s screenplay and direction is what makes this so special and separates it from other horror pieces. It’s slow, methodical, eerie. But the characters are psychological and deep. The dialogue is real and colorful. The plot is surreal and disturbing. He let’s the scares crawl at you as opposed to jump at you. He allows you to see what will happen, process it, feel the shock of what’s about to happen, and then still shock you even more when it happens.This film will be divisive. I have no doubt that many people here will hate this. However, while this is a challenging film, it’s also a great film. Halfway through a character says something along the lines of “That was so messed up, but I’m trying to keep an open mind.” I suggest that audiences take this advice.PSA, this movie is extremely violent, bloody, and gory. It’s pretty horrifying and it could have stuff that is triggering.