Tag Archives: Philip Ridley


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DIRECTED BY: Philip Ridley

FEATURING: , Ashley Judd, Viggo Mortensen

PLOT: Darkly Noon, a young member of a fringe religious sect, barely escapes a massacre and stumbles through the nearby woods to find an isolated woman in an isolated home; his confusion—and rumors that the woman is a witch—causes his fragile mind to unravel.

Still from The Passion of Darkly Noon (1995)

WHY IT MIGHT MAKE THE APOCRYPHA LIST: Depending upon how you sliced this one, it could have turned out normal. But Philip Ridley (who both wrote and directed) slices it so that The Passion of Darkly Noon is an ambiguous morality tale, a “Lifetime”-style melodrama, and a hellfire vengeance tract. Seeing a young Viggo Mortensen as a mute carpenter is odd; seeing a young Brendan Fraser as a meek religious zealot is odder; but by the time I saw the magical silver shoe encore at the finale, it was a done deal.

COMMENTS: A word of warning about this review: as I type this, I am not sure where I’m headed. This handily conveys the feelings I had throughout The Passion of Darkly Noon, which defies any easy categorization other than it could only have been made in the 1990s. I grew up with ’90s cinema on rented VHS cassettes, and there is a tone that’s there, if you’re looking for it: the inarticulate subversion of the 1980s morphed into something with a strange sheen that, while smoothing the effect, somehow also made it much more exaggerated. By the time the ’00s rolled around, the modern B- and cult-film visual vocabulary had been sorted out. Philip Ridley’s religious thriller is smooth and polished, but there’s a primordial heart beating savagely through the veneer.

The Passion of Darkly Noon concerns the titular character, “Darkly Noon” (Brendan Fraser), and his spiritual trials after escaping an implied massacre. From the few details provided, his family, and the other members of the sect, had their compound raided by the FBI, National Guard, or some such outfit, with the young man barely escaping, and then nearly being run over. Like many of the film’s lines, its opening one is portentous: “God, help me!,” Darkly mutters, before being carried off to a nearby homestead. What follows, over the course of twelve days, is best captured by Darkly’s confession to his dead parents, “…it’s just that it’s very difficult here. And there are a lot of things I don’t understand.”

This passion play is populated by a small group of allegorical characters. The man who finds Darkly, and who ultimately betrays him, is “Jude” (bringing to mind either Judas, or, also appropriately, the patron saint of hopeless causes). The woman who inadvertently seduces Darkly—and who is dubbed a “witch” by an embittered neighbor—is named “Callie,” traditionally short for “Caroline”, a name meaning free or happy; she represents the unreserved pursuit of joy that Darkly has been denied his entire life.

It wasn’t until the last five minutes that I felt Darkly had a shot at being named one of the weirdest movies of all time. Of course, there was that giant, glittering, red-soled shoe floating incongruously down the river. And there was the up-tempo plague and pestilence preach-ifying undertaker who seemed lifted straight from a 19th-century Revival tent. And there was Viggo Mortensen’s mute carpenter, Callie’s bae, who can’t talk so instead has developed an impressive sleight-of-hand repertoire. A final oddity emerged in the closing credits when I learned that this was a German production. Obviously this is only a minor point, but I wondered: is The Passion of Darkly Noon a European view of American religious fanaticism colliding with rugged individualism, exploding in a Hell-sent electrical fire of extermination?

Arrow Video’s “Special Edition” marks the first time Darkly Noon has graced Blu-ray. It’s a director-approved 2K restoration and it includes a new commentary track from Ridley among its many special features. First-pressing orders come with a commemorative booklet.


“… 1990’s The Reflecting Skin [was] the oddest, most obsessive and morbid rural fantasia ever made, at least until The Passion of Darkly Noon…  As in The Reflecting Skin, Ridley keeps tight control[;] it’s never just weirdness for its own sake.”–Rob Gonsalves, EFilmCritic

(This movie was nominated for review by “Mike.” Suggest a weird movie of your own here.)


DIRECTED BY: Philip Ridley

FEATURING: Jim Sturgess, Joseph Mawle, Clémence Poésy, Nikita Mistry, Eddie Marsan

PLOT: A photographer with a disfiguring heart-shaped birthmark on his face sees demons on

Still from Heartless (2009)

the streets of London, then is drawn into a Faustian bargain with a sinister being known as “Papa B.”

WHY IT WON’T MAKE THE LIST:  Not weird enough.  Although the ending delivers a sudden load of psychological ambiguity, and the middle section contains great eerie moments and dreamlike images, Heartless‘ odd tone too often results from the uneasy attempt to mix an arthouse character study with standard horror film tropes.

COMMENTS: For better or worse, expectations make a difference in appraising movies.  If Heartless had been the work of a first time director, it would be a promising debut; as Philip Ridley‘s first new film in 14 years, it actually arrives as a very slight disappointment.  Whenever Heartless falters, there’s the temptation to ascribe the failing to directorial rust rather than to inexperience, and to wonder what Heartless might have amounted to if Ridley had kept up his cinematic chops all these years.  That’s not to say Heartless is a bad film, just one that fails to live up to its promise.  It starts off with an intriguing setting: London (in the near future?) is literally Hell on Earth.  The urban decay on display goes way beyond shoplifting chavs and the litter of graffiti covering every public surface; the gangs prowling the streets setting little old ladies on fire are actually demons, wearing hoodies to cover their reptilian features.  Our protagonist, photographer Jamie, is one of a few who has accidentally caught a glimpse of their real visages; this supernatural vision doesn’t make as much of an impression on him as you might guess, however, as he’s more preoccupied with his own problems, in the form of a disfiguring birthmark which makes him hide his face from all but his closest relatives.  After a long, but not particularly deep, session of character development, things start cooking 40 minutes in when out of the blue Jamie gets a call from a mysterious “Papa B.”  Papa B lives in an apartment in a tenement tower building in London (the one with the eerie green glow coming through the window) where he recruits new hoodie-wearing hoodlums to go out and spread chaos in the streets in return for the favors only he can provide.  Papa B’s lair, with its distressed walls and bizarre lighting schemes, is a masterpiece of low-key nightmare set design; the entity himself is portrayed by a scary-as-hell Joseph Mawle with a narcotic detachment.  Living with him in the flat is Belle, a young East Indian girl who seems to know Jamie’s family history intimately and immediately bonds with him; she plays good cop to Papa B’s bad cop, and the pair’s seduction of Jamie is Heartless‘ high point, dreamlike and freaky.  Things cool off down the stretch, however, as the deal not unexpectedly turns rotten for Jamie, and the script dabbles in gratuitous jump scares and other horror movie clichés (including a victim whose incomprehensible stupidity makes him complicit in his own demise).  A visit from a Satanic Cockney bureaucrat known only as “the Weapons Man” livens things up before the movie trickles to a conclusion.   Suddenly abandoning the supernatural for a symbolic psychological explanation of Jamie’s torments, the ending proves unsatisfying because we don’t actually know his psychology well enough to respond emotionally to the resolution.  The threat from the once omnipotent Papa B simply fades away, and we get a flashback to a maudlin speech from Jamie’s dead father about darkness and stars that illuminates nothing.   Heartless winds up as a familiar Faustian fable with a trio of extraordinary diabolical characters (Papa B, Belle and the Weapons Man) and some wonderful sets (the mad tenement apartment, the streets of London glowing sickly yellow as midnight approaches).  The results are worthwhile, and individual scenes are knockouts, but it feels like there’s a classic weird horror tale lurking inside this movie that just can’t quite burst out if its shell.

Director Philip Ridley debuted in 1990 with the Certified Weird The Reflecting Skin, the strange story of a troubled boy who believes his neighbor is a vampire.  In twenty years Ridely has only completed three feature films, but the polymath has kept busy, writing nine children’s novels, thirteen plays for adults and children, and seeing three major exhibitions of his photographs.


“Best appreciated for its sustained creepy vibe and sporadically arresting images, ‘Heartless’ moves from one outré moment to another, from one self-conscious allusion to the next (‘Donnie Darko’ and ‘Taxi Driver’). It doesn’t go anywhere special or much of anywhere, though it goes there in appreciably icky style.”–Manhola Dargis, The New York Times (contemporaneous)


“You been exploding frogs again?”–Ruth Dove


DIRECTED BY: Philip Ridley

FEATURING:  Jeremy Cooper, , Lindsay Duncan

PLOT:  Over-imaginative young Seth, growing up in post-World War II rural USA, comes to believe that his widowed neighbor is actually a vampire.  After his father dies in unexpected fashion, the older brother he adores returns from his military tour of the Pacific.  When the brother falls in love with the vampire widow, Seth tries to find a away to save him.

Still from The Reflecting Skin (1991)


  • This was Philip Ridley’s first directorial effort, after breaking into the movie business by writing the script for The Krays. He is also an author of children’s books.
  • A top-billed, pre-fame Viggo Mortensen had just come off playing the role of the cannibal “Tex” in Leatherface: Texas Chainsaw Massacre III.
  • The production company for the film (Bialystock & Bloom Limited) is jokingly named after Zero Mostel and Gene Hackman’s characters in The Producers.
  • This film, with its hyper-imaginative child protagonist roaming among golden fields of wheat, was an obvious inspiration for Terry Gilliam‘s 2005 film Tideland, which has a slightly different atmosphere but can be seen as a companion piece.

INDELIBLE IMAGE:  Seth cradling and asking advice from the petrified baby (which he believes to be an angel) that he found hidden in an egg-like box in a hayloft chapel.

WHAT MAKES IT WEIRD:  Nothing that happens in The Reflecting Skin is literally impossible.  Much of the film’s bizarre effect comes from the characters, especially the weird widow Dolphin who is obsessed with decay and destruction and whose husband hanged himself after a week of marriage. Other characters who form the background of young Seth Dove’s weird world are his perpetually on the verge of tears, creatively abusive mother; a father who reeks of gasoline and hides a secret past; a drunken neighbor obsessed with his own sinful thoughts who dresses like a Puritan; the world’s unluckiest town sheriff, who has lost three body parts to animal attacks and who wears a slice of a colander for an eyepatch; and a hot-rod hearse full of juvenile delinquents that haunts the back roads of this Midwestern farm community.  Altogether, it’s a such an odd concoction of unlikely ingredients, told in a straightforward dramatic manner, that might earn the label “improbable realism” (as well as “Midwestern Gothic”).

Original trailer for The Reflecting Skin

COMMENTS: On it’s release in 1990-1991, The Reflecting Skin was frequently compared to Continue reading 19. THE REFLECTING SKIN (1990)