#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – A young couple looking for the perfect home find themselves trapped in a mysterious labyrinth-like neighborhood of identical houses.
Plot: A young woman and her fiancé are in search of the perfect starter home. After following a mysterious real estate agent to a new housing development, the couple finds themselves trapped in a maze of identical houses and forced to raise an otherworldly child.
Smart Tags: #psychological_torture #supernatural_prison #rapidly_growing_child #digging #abducted_couple #couple_held_captive #no_escape #failed_escape_attempt #creepy_salesman #monster_child #home #out_of_gas #forced_to_raise_someone’s_child #adult_giving_a_child_the_middle_finger #house_for_sale #female_teacher #lighting_a_cigarette #smoking_in_a_car #strawberry #climbing_up_a_ladder #obscene_finger_gesture
|5.8/10 Votes: 40,720|
|6 Votes: 890 Popularity: 115.293|
> **_Review on Horror Focus_**
This indie sci-fi thriller Vivarium from Irish filmmaker Lorcan Finnegan is many things, one definitely being quite the head-scratcher. Not because of it being an intellectually challenging story, or one that is laced with twists and turns to create an unpredictable viewing, but a film that delivers a narratives so peculiar that it is like something you’ve never seen before. Take this with a pinch of salt, as there’s certainly aspects which don’t make the landing of such an ambitious plot, but let it also be known that Vivarium contains some impressions visual and narrative storytelling, enough to forgive some of the mid-act waffle that cripples the films momentum.
Finnegan gets the ball rolling with power, keeping the story taught enough that we are thrown straight into the mystery early doors. This works extremely well as the tension begins to bubble within the first ten minute mark. The performances here from our main cast member already begin to show their brilliance, especially Jonathon Aris who sets a chilling foreshadowing tone with his appropriately eerie character Martin. The small (yet effective) amount of screen time we have with Martin is enough to set the tone, and we, like Tom and Gemma are forced to endure something that is so ominously intense that it leaves a lingering sense of dread.
Unfortunately, this soon begins to simmer once Finnegan establishes the plot in its whole, and realisation settles on the simple fact that, after the 30 minute mark, there really isn’t much else for the story to go. Yes the labyrinth maze of suburbia is strangely terrifying, and the strenuous repetition is effective, but after 15 minutes of having the child introduced, Vivarium begins to fall flat, and grow increasingly more stale up until after the sixty minutes in. The fantastic Poots and Eisenberg, and the deadpan humour do prevent this film from becoming a little too one-note, but this doesn’t exuse more than a few scenes that will be a task to sit through, even in these current homebound world we are living in.
There is a glimmer of brilliance in Finnegan’s choice of release here, as what our main couple are enduring is poetically reflective of the life we are living in this mad pandemic virus. I found myself identifying with the irritated attitude our characters develop, and sympathised with them when their child (the boy) was well deserving of a slap. Vivarium is intelligently relative right now, and can definitely be perceived as as Finnegan holding a mirror up to the idealistic yet treacherous concept of what makes the perfect home, and the urge to be the perfect family.
In fact, there’s so much underlying aspects of Vivarium that are so incredibly reflective of the inevitable repetition that comes once a spunky couple are weighed down by family life, securing their “ideal” home and tolerating each others impurities under the same roof constantly. Finnegan exposes the dangers of the nuclear family here, and forces us to endure it too, warts and all. We even get those little moments in which Tom consistently chips away, digging a whole, not to be talked to, helped or interrupted by Gemma, who becomes a slave to ensuring nothing but contentment for their boy. This moment is humourous with a dark sting, and will be reflective of reality to many, but to those inside Vivarium is nothing but a nightmarish loop.
This distorted utopia Finnegan creates is what’s most effective, orchestrated by a Burton-esque palette that is as gorgeous as it is hauntingly off-kilter. The early 80’s, Romero’s Day of the
Dead-like synth is undeniably effective, and carries the tension through to the final act, which although doesn’t hit a payoff point that excuses the slow middle act, does add to the bankers reality Finnegan has crafted, and highlights the eeriness established from the beginning. While Vivarium does lose a tone of momentum when it hits the mid-way point, by the time it reaches its end, I can’t shake the distinct feeling of unease I had to endure for over eighty minutes, and I can’t deny that a film like this was an experience I have quite been exposed to before. I have been feeling really under the weather these past few days, and let’s just say this only made me feel worse. Great job, I guess?
Vivarium is a simplistically disturbing suburban nightmare with a captivating story and little room for growth. Enduring its drab middle act may prove tricky, but once Finnegan blows the dust of the eerie intensity established from the beginning, you’ll find there is much to be desired with this unsettling little indie-sci-fi thriller.
Sci-fi thriller, just not _”on the edge of sit”_ type. Lorcan Finnegan remakes his short film **Foxes** and adds a life message to it.
Could have been a 30mins tv episode
Got a half decent idea for a short tv episode (but hey… leave out the cuckoo opening scenes then, no need to spell out the whole thing beforehand) but as a feature it’s just an amateurish mess without much thought, balance in it’s storytelling or coherence behind it (and yes it is “surreal” but that doesn’t make it any better)
Like many works of art, you’ll either get it, or not…
There are many artworkss I have come across I don’t understand, or that grate on my eyes and ears, but I could never say ‘this is the worst I’ve ever come across, I want my money or time back.’ I just acknowledge I don’t understand it and move on. The rhetoric used in many reviews here (and on other titles here) is nothing short of churlish and immature. I hope people with more rational minds can ignore the cancel culture reviews, use better judgement as to whether this film is worth their time or money and give equally fair reviews.
That being said, I’ve given this a 7 (a ‘good’ but not ‘great’ in my personal estimation, your mileage may vary) and recommend this highly to lovers of noir fantasy/science fiction parables, or bleak social commentary framed in a Carrollian/Kafka-esque/David Lynch set-up. Many others, like me, may probably like, enjoy or appreciate it to varying degrees, but shouldn’t ‘hate’ it.
The two leads (Eisenberg and Poots) are quite up to the demands their predicament puts on them, and show a varied range of emotions and states. The supporting child actor, however, gives me the willies! If that wasn’t his normal voice I was hearing, his mannerisms, posture and acting were still scarily on-point. (If that was his voice, however, his career should skyrocket.) As a ‘family’ their dynamic is both an exaggerated mirror of modern unprepared families, as well as a starkly portrayed descent into madness.
Set design and overall production quality was obviously low-budget but very effective nonetheless. It perfectly evokes the subliminal nausea that modern suburbia often instills. You are asked to pay more attention to the tasteless food, the cookie cutter clouds and the pictures on the walls to better understand the complete lack of emotion or creativity of the antagonists, how completely different a species they are.
The script is the only thing I knock a point off for. While it didn’t do anything ‘wrong’, per se, I can agree with some reviewers that maybe, just maybe, some kind of clarification, exposition or slightly less bleak ending would make it more palatable to a much wider audience, but then we would be as remiss as if we asked Picasso to paint the whole face, or Jackson Pollock to join some of the dots up and give us a clue… Sadly, therefore, the point lost is for my own (and others) lack of vision or understanding, not the Writer/Director’s ability.
Original Language en
Runtime 1 hr 37 min (97 min)
Genre Comedy, Horror, Mystery, Sci-Fi
Director Lorcan Finnegan
Writer Lorcan Finnegan (story by), Garret Shanley (story by), Garret Shanley
Actors Imogen Poots, Danielle Ryan, Molly McCann, Jesse Eisenberg
Country Ireland, Belgium, Denmark, Canada
Awards 3 wins & 5 nominations.
Production Company Fantastic Films, PingPongFilm, Frakas Productions
Sound Mix Dolby Atmos
Aspect Ratio 2.39 : 1
Laboratory Outer Limits Post Production
Film Length N/A
Negative Format N/A
Cinematographic Process Digital Intermediate (master format)
Printed Film Format Digital (Digital Cinema Package DCP)