The relationship between Light and his father (Shea Whigham) doesn’t come off as believable at all.
#Death note willem dafoe movie
Some of the drama and pacing in this movie is weak. That’s not to say the movie doesn’t have its flaws. Fans of horror can be safe with the knowledge that Wingard is a fan of the genre, perhaps more so than he is a faithful adaptor of anime. For instance, the opening decapitation scene when Light first uses the Death Note is straight out of the original Omen (1976) film. Meanwhile, some scenes in the remake ooze class, as they evoke classic 1970’s horror films. The multiple Shinigami and their video-game persona owners in Ohma’s original manga, sometimes play off as cheesy and cartoony as Pokemon or Homestuck.
#Death note willem dafoe series
Let’s not pretend the manga and anime series didn’t have their own failings. Taken on it’s own merit, Death Note is a worthy addition to the landscape of modern horror. But like Gore Verbinski’s remake of Ringu (1998) and the subsequent trend of American/Japanese remakes (The Grudge (2004), The Eye (2008), Dark Water (2005)) - there’s always going to be some appeal lost in cultural translation. In this case the fault seems to mainly lie in trying to cram 107 chapters, or 39 episodes of a manga/anime series into 100 minutes. It wouldn’t be the first time an American adaption of a Japanese classic got it slightly wrong. Wolff has the classic horror persona of those teen drama oriented slasher films of the 1980’s - facial expressions filled with ennui, moodiness and angst that sometimes evokes Gyllenhall’s Donnie Darko- or a wimpier Bruce Campbell. But let’s face it, this kid looks exactly like a manga character, with his bleached hair and angular eyebrows - and simultaneous likability and psychopathy.
Some blame Wolff’s pale, wan look for the moody Twilight-style character drama of this adaption. Willem Dafoe is an obvious standout as the shinigami death god Ryuk, but I think Nat Wolff is also underrated as the film’s edgy, emo protagonist. Whilst reviews of Death Note have been largely negative, many at least have praised the stylistic direction of Wingard, and some of the cast performances. Taken in a certain way, this could easily be a metaphor for the modern power of internet lynch mobs to change the fate of society, and indeed the modern Roman colosseum of thumbs down and thumbs up – which decide the fate of a film’s success or failure in the digital landscape. Coming into alliance with the death God Ryuk (Willem Dafoe), Light finds he has the power to cause the death of anyone whose name is written inside the pages. He is a competent stylist, and can direct an engaging horror plot.ĭeath Note follows the story of Light Turner (Nat Wolff), a high school student who finds an enchanted notebook, the titular ‘Death Note’. He also directed tape 56 of the now iconic VHS (2012-2014) series, the glue which held that franchise together. Wingard may not be a household name, but as a director of horror movies, he has integrity, kicking off his career with Home Sick (2007), a brave splatterfest unprecedented in the modern era. On the richter scale, however, this was not Ghostbusters 3 ( see our review here). Power, which we all have at our fingertips, in the age when mob mentality can snowball in Facebook posts and Youtube comments – resulting in an avalanche of negative energy. But now that the smoke has cleared, some have doubts on the justice of the mob ruling.Īfter all, let’s not forget the underlying themes of Death Note justice, use and abuse of power.
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