Please note – Viewers please be aware that this film contains visual scenes that would be more appropriate for an older audience. This includes nudity and other content.
Susan Morrow (Amy Adams) works at an art gallery and enjoys a posh lifestyle. She is also married to a younger man who she suspects is currently cheating on her. One day, Susan receives an unexpected delivery on her doorstep and is surprised to find a book which has been written by her ex-husband. The book is titled “Nocturnal Animals” and is also dedicated to her. As Susan begins to read a story… she is launched on a journey that is very dark, violent and a tale of revenge. I’m sorry, but that’s all you get about the story in this review.
Susan Morrow’s (Amy Adams) ex-husband is played with perfection by actor Jake Gyllenhaal (Best known his roles in Donnie Darko & recent film Southpaw). Jake Gyllenhaal plays both the lead role in the book that Susan reads, and in the flashbacks that are provided showing the many ups and downs of the once happily married couple.
Nocturnal Animals is best described as a combination of the 2014 film “Gone Girl” and the director “Alfred Hitchcock”. There are many scenes that are filled with high tension and suspense but also beauty. Every shot in this film along with its audio track is outstanding and very impressive.
Supporting cast member Michael Shannon also deserves a strong mention (General Zod from Superman – Man Of Steel). Michael Shannon is seriously one of the best-supporting actors I have seen this year and is currently going from strength to strength in each film I see him in.
Overall, Nocturnal Animals is a violent thriller that delivers an outstanding performance (along with unexpected chemistry) from both Amy Adams & Jake Gyllenhaal who did not disappoint me at any stage. The film’s dark path is something that I that feel will not earn this film a repeat viewing, but yet when the credits rolled, I was left in the cinema wishing that I could see more and that is a great feeling to have.
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Review Written by Peter Walkden