Dust Bunny is one of the most imaginative horror/thrillers released this year. Featuring a solid script, awesome cinematography, and an engaging plot, one could easily recommend it for those traits alone. It’s director Bryan Fuller’s ability to make the fantastical elements feel real and the chemistry of its leads that sets Dust Bunny apart. What starts as an entertaining, yet seemingly nonsensical fairytale quickly evolves into a delightfully surreal and oftentimes charming introduction to horror.
Dust Bunny captivates the moment ten-year-old Aurora (Sophie Sloan) is introduced. Her fear of the monster that supposedly lives under her bed is immediately familiar. The same can be said of her parents’ disbelief; no one thinks they’ll be eaten alive if they walk across the floor at night. The lack of evidence and Fuller’s dream-like cinematography – where clever shots, dramatic lighting, and a vibrant color palette are used to create an unearthly atmosphere – contribute to this notion. It isn’t until Aurora’s parents suddenly disappear, however, that we’re given an inkling into what’s actually going on.
That’s not to say that this event gives anything away. Fuller does a great job of stringing viewers along for a decent amount of Dust Bunny’s hour and forty-minute runtime. If it isn’t the aforementioned cinematography, it’s the plausible, yet mostly unrecognizable environments that gives credence to this all being a figment of a child’s imagination. The presence of an underworld filled with colorful assassins who’re overly polite with one another despite being morally bankrupt further complicates things. And that’s to say nothing of the cartoony violence on display; think of a subdued Alice in Wonderland with a sprinkling of Kung Fu Hustle.
That said, the elaborate sets (seemingly modeled after real places) and the seriousness of a given situation paint a different picture; the ramifications of a violent encounter or important conversation ring true. Characters also feel real despite their surroundings. And while there isn’t concrete proof one way or another, the spent shell casings, claw marks on doors, and missing bodies clearly indicate that something is amiss. Essentially, it’s hard to commit to a theory about Aurora’s missing parents when her entire world floats between make-believe and reality.
Fuller’s deliberate style of shooting helps in establishing the film’s mysterious vibe, where fanciful concepts and innocuous notions are nestled beside horrific events. It’s an odd juxtaposition of competing elements that mostly works, as evident in Aurora’s time spent scouting her nameless neighbor and apparent hitman (Mads Mikkelsen). Sloan expertly showcases a naive point of view. The confidence she exudes when combating the misgivings about Aurora’s request to kill her monster is believable. Aurora thinks she knows what she’s talking about, and to some extent she does; the hitman kills monsters for a living, just not in the way that she thinks.
Sloan’s strong line delivery and imposing demeanor reflect a savvy individual that’s only held back by her station in life. That said, her persona never betrays the fact that Aurora is a child responding to a traumatic experience. Sloan fidgets with light switches, sneaks in a few bites of candy or a cookie during conversations, and shares glances that reveal the fear hidden behind Aurora’s bravado. This is especially true when playing opposite of Mikkelsen, who embodies the stoic but surprisingly caring hitman. His deadpan approach complements Sloan’s eagerness, often leading to a comical moment or some heartfelt exchange. The hitman’s struggle to discuss the nature of his work with a child is relatable. But it’s Mikkelsen’s straight-faced delivery amidst their amusing back and forth that makes these conversations noteworthy.
Dust Bunny benefits from its well written script. It provides a bit of humor, some witty banter, even a few astute observations on childhood trauma. The crazy stuff that happens in between chats aren’t ignored. Rather, the entire cast does a wonderful job of leaning into the absurdity of it all. Sigourney Weaver’s portrayal of an operator/mother-like figure to assassins, for instance, is as charming as it is unsettling. When confronted for ordering a hit that nearly gets everyone killed, her character’s response was a well-articulated “whoopsie daisy”.
For the most part, Dust Bunny is an inspired horror film. There are a few issues worth mentioning though. Not everyone’s performance – including that of Rebecca Henderson and David Dastmalchian, who both play cool assassins – is as memorable as one would hope. It’s not that any of them did a bad job. Just that they weren’t on screen long enough to be really impactful. There are also times when the film’s differing visual aspects clash with one another; what appears to be green screened backgrounds sometimes distract from the hand-crafted sets. And the shaky CGI, which works in some scenes, is distracting and easily outdone by Dust Bunny’s practical effects.
Dust Bunny is an imaginative introduction to horror. It’s chaotic, humorous, and often times down right odd. But it’s all the better for it. There are some issues when it comes to its use of GCI and green screens. And some of the film’s talented cast aren’t given nearly enough screen time. That said, the leads are amazing – Sloan and Mikkelsen’s on screen chemistry is great – and Fuller’s inventive shooting style captivates throughout Dust Bunny’s entire runtime.
Review screener provided.
REVIEW SCORE: 4/5
