Five-Legged Iguana

JOSHUA
(Review)

George Ratliff’s Joshua is a measured and terribly assured psychological thriller that follows Brad and Abby Cairn and their son Joshua, as their lives transform overnight with the birth of the couple’s second child, Lily.
Ratliff’s script, co-written with David Gilbert, takes a realistic approach to the idea of the bad seed and becomes the solid foundation to what is perhaps the most unnerving entry of this lot, which includes films like The Omen, The Good Son, and of course, The Bad Seed.
And not only are Sam Rockwell and Vera Farmiga exceedingly effective as the Cairns, but young Jacob Kogan as the nine-year old Joshua is a fantastic find.
Practically from the get-go, there is an alien otherness to his Joshua, some element in his performance that never once makes you forget that there is simply something wrong with this child.
Rockwell is the father who tries gamely to hold his family, his marriage, and his job together, while Farmiga (who already held her own with some formidable co-stars in Martin Scorsese’s The Departed) is the mother who struggles to keep her head above the treacherous waters of post-partum depression. Their performances and that particular plot point ground the film in a very real and tangible way, which makes things all the more tragic when the narrative takes its turns into “Good Heavens, what an evil child” territory.


Joshua is a chilling look at the changes that are wrought by the arrival of a new child into an already established household. It’s also a disturbing study of just how alien and removed a child can be from its parent.
Though we never get to see what life was like before Lily (the film basically opens with her birth), we do get a sense of how the new infant has managed to encroach on Joshua’s territory, and it’s really only in the light of this fresh arrival that the Cairns become acutely aware that their first child isn’t at all like a regular nine-year old.


I’ve mentioned this ‘round these parts before, that I’ve long been fascinated by serial killer cases. Thus, I’m well aware of the early warning signs of a sociopath in the making. (As are most movie-going types these days, I imagine, given the surfeit of serial killer thrillers out there.)
Still, when the beats are done here, there’s a genuinely troubling nature to the occurrences (some on-screen, many off-) that serve to magnify the cold and calculating threat that lies at the heart of Joshua.


Making quite a stir when it screened at Sundance last year, Joshua didn’t make a whole lot of money in its theatrical release, and I can sort of see why.
It isn’t a comforting film, Joshua. It’s disturbing in a far more insidious way than a movie like, say, The Omen. Stripped of any supernatural horror movie conventions, Joshua’s terrors play as frighteningly real and actually possible; we can’t all be the parents of the AntiChrist, right? But an intelligent sociopath is far more commonplace.
Joshua also plays into that fear of course, that you could do your best to raise your child reasonably well, give him everything you think he wants and needs, never lay a violent, abusive finger on him, and he’ll still turn out to be a sick little psycho.


This disturbed me a whole lot more than I thought it would, and that’s mostly on Farmiga and how her performance becomes this really painful journey to watch. There are several moments where you just want to scream irrationally at Rockwell’s character, “Can’t you see there’s something horribly wrong here?! Look at your wife, man!”
This is award-worthy stuff, but sadly, there’s that stigma horror films are unjustly saddled with, so this will join the ranks of Brilliant Performances in Horror Movies That Will Ultimately Be Ignored By Oscar And His Ilk.
If anything though, Joshua points to a dazzling future for Farmiga.


The other aspect of Joshua that simply gets beneath the skin is the final reveal, when the motivation for Joshua’s actions becomes icily clear. It’s certainly been there from the early sections of the film, constantly hovering in the background, and yet when it does rear its ugly head (in a flat-out disturbing rendition of Dave Matthews’ “The Fly”), it comes at you like an avalanche of maggots.

So if you like your psychological horror undiluted by any modern Hollywood safety standards, Joshua’s the boy to see.
Just be prepared, because he has no concept of the term “kid gloves.”


(Joshua OS courtesy of impawards.com; images courtesy of bloody-disgusting.com; DVD cover art courtesy of dvdactive.com.)