Stay away from farms. No matter what the stipulations are, just keep away.
After the death of his boyfriend, Tom (Xavier Dolan), is left utterly speechless. That’s why, even against his own best wishes, decides to travel out to the country and go to his funeral, where he meets the rest of his family. Problem for Tom is, nobody knows that Tom is the recently-deceased’s lover; everybody just assumed he was straight. Though Tom does get a bit close at times, he decides to keep to himself and not say anything to the family about the truth; however, that doesn’t stop the recently-deceased’s brother, Francis (Pierre-Yves Cardinal), from getting all up in Tom’s business from the first second he lays eyes on him. Though Tom doesn’t want to disrupt what the family has already going with themselves, Francis takes it upon himself to torture and toy around with Tom; some of it has to do with the fact that he himself is opposed to homosexuality, but some of it may also have to be because Francis actually has feelings for Tom. Weird feelings, but feelings nonetheless. And it’s these feelings that makes Tom feel as if his life is in danger and may need to do whatever he can to get away from Francis, as well as the farm, as soon as humanly possible.
It’s weird that Tom At The Farm is just getting its U.S. release date now. A few years ago, while vacationing out in Canada, I actually had the opportunity to check it out at a local theater and thought it was only a matter of time until it hit the States, won everybody over, and all of a sudden, made me the coolest guy ever, because I saw it before everyone else. But the weird thing here is that, nearly three years after its completion, it’s just now getting its stateside release.
Why is that, honestly? Is it because Xavier Dolan’s latest (Mommy) seemed to do so well that studios eventually had hope for more Dolan movies? Or, is it because the movie’s terrible, has been collecting up dust for so long that eventually, Canada got sick and tired of it and just wanted to pass off the horrid stench of it to the U.S.?
Well, thank the high heavens, it’s not anywhere near that last idea.
That said, Tom At The Farm does have its fair share of problems. Dolan, as young as he may be, has already been criticized an awful-lot for being what some describe as “pretentious”, “too artsy”, and “repetitive”, and while I may not agree with all those terms, while watching this movie here, as well as his others, it’s hard not to notice a trend and wonder if he’ll ever break out of it. For instance, there’s a lot of showy scenes where Dolan lights a scene a certain way, hits the slo-mo button, and blares some odd pop-song in a way that may make hipsters think is cool, but to others, may be a tad bit annoying. Annoying, not just because it’s a neat trick that Dolan uses well and instantly makes people jealous of, but annoying, because it feels unnecessary, especially given how strong this movie is already.
But like I said, all those problems go aside when you realize that Dolan, for all his repetitiveness, is a pretty solid story-teller. However, what makes Dolan feel like a true talent is that it doesn’t even seem like he’s trying; rather than giving us everything we need to know about these characters, their situation, and what to expect with this story, right up front and center, Dolan allows for everything play out in a timely fashion. He’s vague on certain details, but eventually, you start to see some threads and pieces of an odd puzzle come together in a way that works for the movie both as a thriller, as well as a character-study.
That we know early on that Tom is a homosexual helps us identify with him and a person put in his situation; while he means to do well, at the same time, he also may be causing a lot of trouble and interruption. A part of him knows this, however, doesn’t want to wholly believe it. He’d much rather just pay his respects, find his lover’s family, know who they are, feel as if he’s completed an objective in his life, and try to move on.
Then, there’s Francis who isn’t as cut-and-dry as Tom may be.
For one, there’s something completely unsettling about Francis the first moment we see him. There’s a certain feeling that this character knows what’s up with his deceased brother and Tom’s relationship, isn’t happy about it, and wants nothing more than for Tom to leave him, his family, his farm and never be seen, or heard from again. This is understandable, but Dolan’s writing takes it one step further to show that there are some homicidal tendencies within Francis that have less to do with the fact that he doesn’t like homosexuals because he doesn’t agree with their life-style, and more to do with the fact that Francis may in fact be jealous of this life-style and has a hard time controlling his temper, his wants, his needs, or most definitely, his pleasures.
Same goes for Tom and eventually, the movie turns into a cat-and-mouse game between two unlikely protagonists; one of which is clearly more evil than the other, but at the same time, still human enough to where it doesn’t seem like his transformation is all that made-up. This Francis dude may just be as nutty and twisted as some people make him out to be, and it’s from here on where Tom At The Farm gets to be a little bit conventional. It’s still interesting to see how things turn out for both of these characters, but what ultimately started out as an interesting look inside the mind of a sexually-deprived man, soon just becomes a slasher-thriller – albeit one with less blood and gore.
More sex, though. Which is always a good thing, no matter what movie you are watching.
And it should be noted that both Dolan and Pierre-Yves Cardinal are both very good in their roles. Having seen all of Dolan’s movies, I’ve come to learn that, when he gets the chance to do so, is much more willing to take the back-seat in his movies. That’s neither a good nor a bad thing, it’s just a thing. But here, it works out well because it gives Cardinal plenty of opportunities to push this character, as well as this movie, further and further into the realms of darkness that nobody will be able to expect.
Those damn Canadians.
Consensus: While Dolan’s been better, Tom At The Farm is still an effective, odd and eerie thriller that works both as a character-drama, as well as a bit of a real-life horror flick, however, the former definitely works a lot better than the later.
7 / 10
Photos Courtesy of: Indiewire