Roger Michell | 106 mins | streaming (HD) | 2.35:1 | UK & USA / English | 12 / PG-13
Adapted from a lesser-known Daphne Du Maurier novel (previously filmed in 1952 with Olivia de Havilland, and here relocated from Cornwall to Devon to avoid comparisons to Poldark (really)), My Cousin Rachel is the story of an orphaned young man, Philip (Sam Claflin), who’s raised by his older cousin Ambrose until the latter’s health forces him to leave for Florence. There Ambrose falls in love with their cousin Rachel (Rachel Weisz) and marries her, but shortly after dies. His final letter to Philip implies Rachel may’ve had a part in his demise. When she arrives at their estate in England, Philip is determined to confront her, but soon finds himself entranced by her, as does everyone. Is she a scheming murderess intent on using her wiles to acquire the family’s estate, or did Philip’s imagination get the better of him?
That mystery is really the heart of My Cousin Rachel, which unfurls as a classy, lightly Gothic melodrama. It’s a puzzle that’s not so much investigated as gradually hinted at, leaving the audience to make up their own mind. It certainly was successful in having me change my opinion on where it was headed multiple times. The pace is fairly leisurely, which some reviewers have found to be trying; but while it’s certainly a slow burner, for me that was part of why it worked. The passage of time and the opportunity it grants for overthinking sways Philip’s mind hither and thither, and so the film gives the viewer similar space to think, for their opinion to shift, back and forth. It makes you a part of his paranoia.
Rachel Weisz is typically excellent, delivering a finely balanced performance that is at once charming and suspicious — is Rachel simply quietly enigmatic, or she hiding a scheming and deadly nature? Sam Claflin is very effective as the hot-headed, easily-led young man at the centre of the story, exhibiting these characteristics which sell Philip’s flip-flopping opinions, which could otherwise have come across as inconsistent. You can believe their passion of each other — or, certainly, his for her — which leads to some earthy bits that might surprise anyone expecting a quaint Heritage melodrama. Thrusting among the flowers aside, the overall style does evoke those Sunday evening costume dramas (you can see why they were wary of a Poldark comparison), as does the pretty photography by DP Mike Eley — it’s not the most outright gorgeous film you’ve ever seen, but it’s a bit of a looker.
My Cousin Rachel’s unhurried storytelling may put off some viewers, but if you settle into its rhythm then it’s a paranoia-fuelled guessing game that will keep you rethinking the truth up until its closing moments.
My Cousin Rachel is available on Sky Cinema from today.
The first English language feature from Greek writer-director Yorgos Lanthimos (of 
Even if you accept these goals, Lanthimos’ film eventually goes off the rails. Without meaning to spoil too much, David eventually falls in with the loners, who have their own very specific social rules designed to inhibit partnering up. Revelation: the outsiders are fundamentally the same, just with different rules! That’s about the extent of what I got from this portion of the film; unfortunately, it goes on for a really, really long time. Among this group David meets ‘Short Sighted Woman’ (everyone aside from David is similarly named) and falls in love with her — I mean, of course he does, she’s played by Rachel Weisz. They develop a secret mode of communicating, but will be harshly punished if caught. This storyline is what the film uses to occupy its remaining time, but what it lacks in the offbeat humour of the time in The Hotel it makes up for with… nothing.
“Crikey, time flies!” I thought when I compiled this listing and saw that The Brothers Bloom was released in 2008. Somehow it felt like it was only last year, not three (or, if at the start of 2008, closer to four) years ago.
but then the job of a trailer is to sell you a film, so if the end result doesn’t match it 100% is that a failing? How are you meant to summarise the entire tone of a film in a two-minute spoiler-free sales burst anyway? That dilemma is emphasised in this case because it’s the opening that feels least like the trailer. I mean, the pre-titles is kinda quirky-fun, but then it gets a little serious and slow, and later — perhaps half-an-hour or three-quarters of an hour in — you get to all the stuff the trailer was selling. And then the last act is back to something more unusually — or, if we’re to be unkind, unevenly — paced and toned. I can imagine the marketing meetings for this were a struggle…
Perhaps the problem for others was that the ending doesn’t quite spell everything out. I’m certain every question you might have is answered, more or less, but it doesn’t lead you by the hand back over the film pointing everything out, as many twist-ending-ed films do. Part of me appreciates this assumption of intelligence; part of me would like it all handily explained so I don’t sit here wondering it for myself. I don’t feel completely lump-headed not wanting to do that — there’s no Deeper Meaning or Philosophical Insight gained from sorting this out, I don’t believe; just an understanding of who was being conned and when, and who knew what and why.
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