Harmony Korine is one of those directors whose films actually affect your mental state; you can't just walk out of a Korine film and go back to what you were doing, you always need to sit down for a bit, have a reflection on what you've seen, and then, more often than not in my case, go to bed. Or shower if it's Gummo.
Mister Lonely is easily Korine's most accessible and easy going film, but considering his ridiculously intense back catalogue this is hardly difficult. It almost feels that he spent his time between Julian Donkey Boy and Mister Lonely not living the Naked Lunch dream, being the purported homeless heroin addict, but hanging out with Wes Anderson's cinematographer and sipping tea with Lars Von Trier (a tea party I'd pay good money to attend in all honesty).
From the off this feels like a changed Korine, gone is the gritty, out-of-date film stock and the non-actors (there's actually quite a reputable cast), the focus is incredibly tight, the framing always deliberate and the colours are bright and primary; a stark contrast to what's come before.
But at the same time this is very definitely Korine territory. Narrative has never been a linear beast for Korine, and he uses its multifaced potentials throughout, jumping from the story of a Michael Jackson impersonator in Paris, to skydiving nuns in Africa, to the varied lives in the impersonator commune in Scotland; this is without doubt another Korine character piece.
Despite the clarified cinematography, it's still very recognisable, the expected backwards tracking shot of two people walking is here, scenes are multilayered over each other, there's the almost naked child saying some of the strangest things you'll ever hear; all in all, it looks and feels like Korine, just shinier and with more of a budget; make of this what you will.
As always it's the characters that are important here, and this is one of the biggest flaws that I found in the film. The use of big actors (despite the sadly absent Chloe Sevigny) seems at odds with what the film is aiming for. Diego Luna puts in an admirable turn as Michael, and it's a delight to see Werner Herzog as the ineffable Father Umbrillo (he was easily my highlight). Even David Blaine has a cameo! A prize goes to person who spots him first. Samantha Morton is, however, the biggest weakness in performance terms. She does improve as the film progresses but in the opening she is SO prone to overacting, making her dislikable from the off and the blossoming relationship much less affecting.
The film does have some massive flaws to be honest, the first half could really do with tightening up and it doesn't really get good until Michael leaves Paris, his speech to his empty room being a particular highlight and turning point. The egg sequence (I'm not going to explain this, you're just going to have to watch it) could have been managed with much more skill and subtlety, it had such potential and then takes a turn into what can only be described as cringey and wacky.
Saying this however, overall it is a very successful film in how affecting it is, and I should stop looking for conventionality, because I'm just not going to get it. Yes the love story isn't properly developed or followed through, but when has Korine ever followed though on narrative in his films? The characters are so much more important here, more in their multiplicity than as individuals.
The film definitely contains some sequences I'm not going to forget in hurry, the little girl's hangman song, the skydiving nuns and one I won't spoil because it's just so good. Here's a clip that really stood out when I watched it:
If you're a Korine fan already I definitely recommend seeing this one. If you've yet to get involved I'd see one of his others first, this might trick you with its high budget and actors into thinking it's something it's not and make you hate it.