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artisanal film reviews | by maryann johanson

Tom at the Farm review: shoulda stayed in the city

Tom at the Farm red light

An overwrought pastiche of Hitchcock that makes less sense and renders its protagonist far less plausible the longer it goes on.
I’m “biast” (pro): nothing

I’m “biast” (con): haven’t been a fan of Xavier Dolan’s work so far

(what is this about? see my critic’s minifesto)

Tom is at the farm, in the countryside outside Quebec, for the funeral of his boyfriend. Except his lover’s mother, Agathe (Lise Roy), has no idea her dead son was gay, so she believes Tom is simply his friend from the ad agency where they work(ed), and laments that “that whore” whom she believes to be her son’s girlfriend — thanks to the machinations of her other son, Francis (Pierre-Yves Cardinal), who has been “protecting” Mom from the truth by inventing stories — hasn’t shown up.

Writer, director, and star (he plays Tom) Xaviar Dolan (Laurence Anyways) has adapted a play by Michel Marc Bouchard not as the emotional domestic drama you might expect from such a setup, but as a Hitchcockian thriller that makes less sense the longer it goes on, and requires him to make Tom less sympathetic and — much worse — far less plausible the longer it continues. I thought the intense strings of suspense on the overwrought soundtrack were rather odd in the opening scene, when Tom arrives at the farm to find no one home, and has a wander around the grounds and barn in a sequence that is in no manner suspenseful. (The cows stare balefully at him, as if to ask what the hell is with that music clinging to him.) But as Francis reveals himself, almost instantly, to be a homophobic thug, Dolan builds a modestly effective sense of ominous menace, particularly as the brother threatens Tom into keeping his mouth shut about the truth, only adding to Tom’s palpable devastation: just as he needs to talk about how he grieves for his relationship and his love, he can’t. And there’s the added tragic loss of how Tom might comfort Agathe by reassuring her that the most important person in her dead son’s life is, in fact, present for his funeral. Can Tom endure through the funeral, until he can escape?

But all this carefully constructed emotional catastrophe gets thrown away when Tom does not, in fact, escape when he can: he sticks around, for no reason that we can see, and somehow falls under a nonexistent spell of Francis’s, even as he grows increasingly violent. Francis is not a charmer under a gruff exterior; he is a monster. After the North by Northwest-ish chase through the cornfield — complete with more of the overwrought suspense strings and an aspect ratio that has suddenly gone superwidescreen — that ends with Tom beaten up by Francis merely for being gay, that should be it for Tom. The funeral is over: there is nothing keeping him in this situation, and he could just hop in his car and get the hell out of there. He doesn’t. When things get even worse, he still doesn’t leave. We have no idea what is going on in Tom’s head that is preventing him from running. And suddenly he has nothing but our derision.

I think we can guess what’s going on in Dolan’s head, though. He’s only 25 years old, and this is already his fourth film. He may be suffering from the young film geek’s mistaken belief that style can trump substance. He’s hugely ambitious in thinking he can take on Hitchcock, but Hitchcock wasn’t just about the way a film looks but also about why people get mired in untenable situations that must be survived. Dolan may be able to ape the one aspect of the great filmmaker he clearly admires so much, but he needs to learn how to ape the other.


red light 1.5 stars

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Tom at the Farm (2014)
US/Can release: Aug 14 2015 (VOD same day)
UK/Ire release: Apr 04 2014

Flick Filosopher Real Rating: rated DGS (contains a Dead Gay Son)
MPAA: not rated
BBFC: rated 15 (very strong language, strong sex references, drug misuse)

viewed in 2D
viewed at a private screening with an audience of critics

official site | IMDb
more reviews: Movie Review Query Engine | Rotten Tomatoes

If you’re tempted to post a comment that resembles anything on the film review comment bingo card, you might want to reconsider.

  • Brody85

    Thanks for the review! Are the screens in private screening rooms small?

  • Some of them are. Some cinema screens are small, too. Why do you ask?

  • Begonia

    This movie was not that bad.. also, Dolan has said in interviews that before making this film he hasn’t ever seen a Hitchcock picture — you can call bull on that but, you’ll never know. Also, my interpretation as to why he stuck around despite the brother’s abuse was because he saw his lover in the brother, heck, they’re of the same blood and he was probably using the brother as a coping mechanism because he was so desperate to get a glimpse of his dead lover. Just a theory — not saying mine is bible truth, but I yours certainly isn’t either.

  • Begonia

    ..also I know that this may sound annoying but seriously? below paul blart 2, fifty shades, AND hot tub time machine? you should check out his new movie called ‘mommy’

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