Birdeater is a tough film to classify. Most would consider it to be a psychological thriller, but only for lack of a better term. It features some of the elements the genre is known for – like a tense, character driven story – but the film’s predictable nature undermines their impact. The same can be said for the solid acting from its talented cast; the ambiguous portrayal of toxic individuals clashes with the moral implications of Birdeater’s plot. While it might occasionally succeed as a drama, the film struggles to provide any sort of thrilling experience.
The debut feature of writer-directors Jack Clark and Jim Weir, Birdeater is actually a well-crafted film. This is initially seen early on, where proper character placement and deliberate pacing help to create an uneasy atmosphere. Invasive close ups of Louie (Mackenzie Fearnley) and Irene’s (Shabana Azeez) awkward displays of affection reflect the peculiar nature of their relationship; what would normally be a loving embrace feels cold, the odd display betraying any hidden intentions. It’s apparent that Irene is engaged to Louie, but the film’s quick pace and frequent transitions between scenes distort time, making it difficult to determine how long they’ve actually been together. Basically, their love life feels suspiciously manufactured.
Clark and Weir effectively build upon this suspicious vibe through the subtle use of visual details. Take Louie and Irene’s off-putting living arrangement. The depiction of the sterile walls and baren corners of their apartment feels claustrophobic. And yet, Irene is rarely seen in public without Louie. He, on the other hand, seems to come and go as he pleases. A clever use of color showcases how outdoor environments are just as unpleasant – the sudden splash of red lighting up a wooded area eerily foreshadows coming events, tainting everything in view. All of these things allude to there being something wrong with Louie and Irene, an aspect that’s heightened by some well-written dialogue during Louie’s bachelor party. Old friends sharing stories of the past after a drug and alcohol infused bit of merriment? These uncomfortable moments of banter lead to a predictably negative outcome.
What’s interesting about this gradual unloading of secrets is that it isn’t what makes Birdeater worth recommending. The mystery at the heart of the plot is an afterthought. Rather, it’s how each character responds to what’s being revealed that intrigues. This is reflected in Jack Bannister’s believable depiction of Louie’s close friend Charlie. Charlie is dumbfounded. He can’t fathom Louie being anything other than a “good guy”. His desperate attempts to excuse his friend’s behavior is frustrating to watch, but only because Bannister excels at playing the hopeful, yet slightly belligerent fool.
The same can be said of Ben Hunter’s wild portrayal of Dylan. Another of Louie’s long-time friends, Dylan refuses to grow up. Eager to get everyone as wasted as possible, he rejects any and all notions of moderation. So, when Louie refuses to play a drinking game he becomes petty and starts making references to dark events from Louie’s past. It’s a chaotic moment that reinforces Dylan’s crazed temperament, which Hunter successfully conveys through his vacant stares and unhinged line delivery.
Fearnley and Azeez are also impactful in their roles. Louie is a manipulative individual who struggles to hide how pathetic he is. Always self-serving, his fake concern for those around him is anchored by Fearnley’s ability to exude deceitful vibes whenever he’s on screen. This is highlighted when played opposite Azeez. Her submissive demeanor and calming voice during tense situations reinforces Irene’s desire to placate her fiancée. While she isn’t exactly afraid of him, she does try to hide any misgivings in order to keep Louie happy; even when the truth comes out about their relationship, Irene is compelled to come to his defense. It’s a burden that is perfectly mirrored by Azeez’s faux smiles and pained expressions.
Birdeater shines when it centers on the sordid dealings of its cast. That said, it isn’t as thrilling as it could be. The tension that’s built up prior to the bachelor party is mitigated by predictable events; despite not knowing the entire scope of their relationship, what happened between Irene and Louie is readily apparent. There are also the ridiculous moments of self-indulgence, where the film’s critique on toxic masculinity and rape culture is undermined by ambiguous characterizations. It’s odd witnessing a person become extremely concerned for a friend – to the point of them positionally calling the cops – only for them to fall in line and join the destructive behavior seconds later. Though that might be realistic to a degree, their actions ultimately corrupt the moment. A similar incident occurs late in the film, where a dreamlike sequence seemingly excuses a person’s negative actions; it’s as if the directors were hesitant to fully condemn certain characters, undercutting the criticism laid throughout the entire film.
Birdeater is a good film, it just isn’t a good thriller. While it does manage to provide some tension while eliciting strong emotions – usually aimed at some foolishness happening on screen – it struggles to maintain those facets throughout most of its runtime. It also has an uneven portrayal of toxic individuals that sometimes hinder the critical aspects of the film. Still, thanks to some clever cinematography, sound acting and an interesting plot, Birdeater is still worth watching.
REVIEW SCORE: 3/5
