Plush

This film tells the story of a young woman in a rock band with her brother. After her brother died of drug overdose, a guitarist is hired to be a part of the band. Unfortunately, the guitarist turns out to be a freak. The story then concentrates on how she deals with the drastic consequences.

The plot is thrilling and well told. There are some clues to the freaky guitarist in the beginning but they are quite subtle, so the story is not spoilt. Emily Browning gives a good performance as a rock chick, and the guitarist is convincing too. The husband, played by Cam Gigandet, is not so convincing though, but that's a minor problem. I also like the songs too, and I can feel the filmmakers' respect for music because the songs are played in its entirety. I liked "Plush" and enjoyed it.

With each new film she chooses to direct, Catherine Hardwicke strays further and further from the early films that put her on the map: her 2003 debut, the teen drama "Thirteen," and her 2005 skate adventure, "The Kings of Dogtown". Her most recent film is "Plush," a psychological thriller set in the Los Angeles music scene. It is an erotic thriller that explores themes of obsession, fame, music and desire. After losing her bandmate and brother to a drug overdose, rising to rock star Hayley (Emily Browning) finds herself on a downward spiral. Her band's second album Plush is received as a critical and commercial disaster. She finds new hope and friendship in Enzo (Samuel Xavier), the replacement guitarist, who inspires her to reach new creative heights. But soon their collaboration crosses a sexual line and Hayley, who is married with two children, backs away from Enzo's advances. As Hayley slowly uncovers Enzo's dark and troubled history, she realizes that she may have let a madman into her home and that her mistake could cost the lives of those closest to her.

"Plush" feels so inauthentic at all times that it's like the movie itself doesn't know what it's supposed to be. A cautionary tale? A rock fable? A tragic example of obsession? Or maybe just an excuse to indulge in debauchery? The film features some of the most lifeless and unconvincing concert footage ever seen; meanwhile, backstage moments consist of chain-smoking and champagne, a shortcut to danger and self-destruction. The heavy narration over a lengthy opening flashback is intended to fill in some of the emotional gaps, but it's just one of many examples of the film explaining it all. Hayley (Emily Browning - beautiful as ever) explains in detail how she and her beloved brother, Jack (Thomas Dekker), grew up in Texas writing and singing their own songs. "The music was like our secret place," she says in a nostalgic, feminine tone. "Nothing could hurt us because Jack and I had each other."

Before long, they moved to Los Angeles and formed a band called Plush. At 19, she is pregnant with twins and is marrying a charming journalist named Carter, played by Cam Gigandet. ("Carter's daughter Lila was our maid of honor," explains Hayley in one of the weirdest snippets of narration in Hardwicke and Arty Nelson's script. "She lives with her mother half the time."). Plush is a smash hit, which inspires all the creepy fan adoration and drug abuse you could hope for. Then one night after a show, Jack overdoses on heroin, leaving Hayley devastated. She records a new album in his honor, with painfully literal lyrics like, "Half of me is gone." Audiences and critics alike reject it, pushing it into an even deeper spiral.

She believes she has found her savior in the band's new guitarist, Enzo (Xavier Samuel). Not only does he know all of her old songs, but he inspires her to push her own limits when writing new songs. Unfortunately, Enzo can also be bisexual and a stalker. This isn't a spoiler, by the way: Enzo's tattoo with Hayley and Jack's pictures gives away his guidance, and the stalker part is also left pretty clear. The attraction between Hayley and Enzo is instantaneous, and they start working on the song together. As their collaboration intensifies, Hayley begins to unravel Enzo's deep secrets, including his disturbing past and dark motivations. As the plot progresses, the line between passion and obsession becomes increasingly tenuous, and Hayley finds herself trapped in a web of deceit and betrayal. The discovery of dark secrets and a hidden secret room in her home lead to events that test the limits of sanity and loyalty.

From here, "Plush" follows Enzo's efforts, with eyeliner in his eyes, to insinuate himself into Hayley's life, while Hayley remains oblivious to just how unhinged he really is. The presence of a strange new nanny to the family (Frances Fisher, with a sleek look and a cape) is no coincidence; she is exactly who you think she is. Meanwhile, increasingly threatening gifts keep pouring in from a discerning fan. Who could be sending these gifts? "Plush" awkwardly tries to shock and frighten us, while also trying to tease and amuse us. At this point, the screenplay, written by Catherine Hardwicke and Arty Nelson, is the film's most ambiguous and complex element. The story explores dark and taboo themes such as obsession and self-destruction as Hayley becomes increasingly involved with Enzo, whose motivations and intentions remain unclear until the film's climax. The narrative is driven through a series of twists and turns that keep the viewer engaged and guessing what will happen next. "Plush" still touches on complex themes such as the pursuit of perfection in the music industry, the dangers of fame and the price of obsession. Through Hayley's journey, the film examines how desire and passion can turn into self-destruction, especially when combined with industry pressure and fan expectations.

As the plot unfolds, the tensest scenes begin to pile up. One of the most intense scenes occurs when Hayley (Emily Browning) and Enzo (Xavier Samuel) are in the recording studio. The passion between them is palpable, but there's also an unsettling feeling in the air as Enzo's mysterious past begins to unravel. At this point, the sexual and emotional tension peaks, and viewers are caught between desire and fear of what lies ahead. As the plot progresses, the relationship between Hayley and Enzo becomes increasingly dark and dangerous. Hayley begins to uncover disturbing secrets about Enzo's past and his connection to the missing women. These revelations create an atmosphere of constant tension as Hayley struggles between her crush on Enzo and her instinct for survival. One of the most impactful final twists happens when Hayley goes to her neighbor's house. She enters this dark and disturbing space, revealing shocking secrets about Enzo's true nature, and his violent acts build to an emotional and chilling climax. The final scene of the film is an intense confrontation in the final minutes, where all the tensions accumulated throughout the story reach their apex. It's a moment of catharsis and redemption for Hayley as she struggles to survive and overcome the obsession that nearly destroyed her.

The always beautiful and talented Emily Browning, as Hayley, gives a captivating and intense performance. She masterfully portrays her character's journey from a talented and passionate singer to a woman plagued by obsession and fear. Browning manages to convincingly convey Hayley's vulnerability and determination, making her a charismatic and multifaceted protagonist. Her emotional delivery is remarkable, especially in the confrontational and tense scenes, where she expresses Hayley's inner struggle in an impactful way. Xavier Samuel, in the role of Enzo, offers an equally powerful performance. He portrays Enzo as a charismatic and mysterious man, who oscillates between seductive charm and a menacing aura. Samuel manages to convey the complexity of the character, keeping viewers both intrigued and uncomfortable with Enzo. His chemistry with Browning is palpable, which intensifies the scenes of passion and obsession.

Catherine Hardwicke's direction is instrumental in establishing the film's dark and unsettling atmosphere. She uses a dark color palette and shadows to create an environment that reflects the emotional turmoil of the characters. The way she utilizes cinematography and editing helps to heighten tension at key moments in the narrative. Hardwicke also makes directorial choices that contribute to the feeling of claustrophobia and oppression, especially in the scenes inside the house and recording studio. She uses intense close-ups of characters' faces to highlight their emotions and inner conflicts. Additionally, the film's soundtrack, which combines original music with well-known tracks, plays a key role in setting the mood. The music - both the Plush band's lyrics and the instrumental - merges with the scenes in an organic way, competently accentuating the emotion and tension of each moment.

"Plush" is a film that certainly does not leave indifferent. Emily Browning and Xavier Samuel deliver passionate and captivating performances that are the beating heart of this film. Their on-screen chemistry is undeniable, and they manage to convey their characters' intensity convincingly. However, the film is not without its critics. The plot may seem somewhat familiar to anyone who is used to movies about intense relationships that descend into obsession. The lack of originality in the narrative can be a negative point for some viewers, in addition to Catherine Hardwicke's direction being a polarizing element. On the one hand, she manages to create a dark and intense atmosphere that fits well with the film's theme. On the other hand, the narrative is confusing at times. One of the most annoying factors is its lack of originality, even if the twists in the final minutes are minimally interesting. The doubt that remains in those who watch is not who did it, but how he did it and why he did it. Several clues are left throughout the script, and the most attentive viewer can already imagine how the plot will unfold in the middle of the film. Still, Catherine Hardwicke's direction manages to keep us hooked on the screen, curious to know how the ending will unfold.

A tale of obsession that turns dangerous. I actually quite liked this, then again I wasn't expecting much out of it (hence the cover) but I adore Emily Browning and I knew this role would be a lot different for her. She was terrific! The music was surprisingly catchy (call me a cheese-ball, but it's true), I found myself humming to some of the songs long after watching. It's definitely not boring and pretty much covered everything from romance and music to mystery and thriller with a hard learned lesson on family and marriage. I liked that it felt realistic. The American accents were done well from some of the Australian cast, but not perfect. The acting was above average. The ending was predictable and little cliché, yet necessary. The punk rock vibe was genuine.

Was it scary? Hell no. Creepy? Yes, having a psycho band member stalk you, seduce you, who looks almost identical to your deceased brother is pretty messed up. If you like thrillers with a bit of edge, it's definitely worth a watch.

Sometimes its easy to push another persons buttons. It's even easier to do so, when you're not showing your full self. In this case this happens to a young female singer who seems to be very vulnerable. Though that seems to be a stretch considering she is married to Cam Gigandet (well the character he is portraying).

Of course there is more than a few moments where the viewer will be shaking their head, at what the singer is doing. But then again, this is way better than some other recent movies with a same story line. The sex scenes are not very steamy, which is intended, but the very first one could easily be discussed and ripped apart. Other movies have had problems with similar evolving scenes ... Whatever the case, this is a decent effort, until the end (with some extra juice and some extra twists)

After reading some of these reviews I started thinking a better use of my time would be to hunt down all copies of "Plush" and destroy them to make the world a better place. So glad I didn't.

While this movie certainly won't solve world hunger and seal the ozone layer, it did provide some interesting thoughts to ponder, and of course the story, though yes cliché at times (what rock n roll movie isn't??), it had enough suspense and twists to keep me riveted.

I won't say much about the plot because almost anything is a spoiler. I'll just say that it's a story of a somewhat naïve young singer falling prey to the darker elements of the music business. But what makes it compelling is the subtle theme that these "darker elements" (pain, cruelty and other vices) are what make a successful artist. More about that later...

I think some people came away with negative opinions because none of the characters are perfect, and you may find yourself hating them for stupid things they do. The main character "Hayley" (Emily Browning) is not a strong individual; she's no badass like Joan Jett or Siouxie or Amy Winehouse. No, Hayley is deliberately portrayed as a sort of fragile leaf in the wind who is easily coerced into doing unwise things. The story begins by implying that the death of her brother leaves her adrift, insecure and vulnerable. I think Emily Browning did a great job of playing such a character, foolish yet intelligent, and despite her questionable choices, we can still associate with her as someone who is trying to find her footing in life.

Oh but don't expect the ABC afterschool special because "Plush" isn't afraid to get down & dirty. While there's not a lot of blood, gore & nudity shown on screen, violence and sexual situations are clearly implied. Not a good date movie, since most of the "intimate" scenes border on rape. But, going back to what I said earlier, these "darker elements" are central to the theme of the artist's passion.

My only real gripe with the movie was that they didn't explore that more for us. I suppose the film plants the idea and we are supposed to ponder it ourselves. But still, I would've loved to see some powerful, chilling monologues (like in "Amadeus" where Salieri declares war on god for not giving him enough talent). But I suppose dramatic monologues like that would've sacrificed the plot's momentum. And the plot is clearly designed to be a roller-coaster from the very opening scene to the very last.

That very same breakneck pace might be what turns some people off, thinking it's too unrealistic. But hey folks, this is rock n roll. Anything goes.

I thought the soundtrack was nicely done. I didn't recognize any bands on the list, but the overall vibe was something like the dark 90s bands Nine Inch Nails, Evanescence & Tool. With just a splash of Hilary Duff. I think I read that Emily Browning actually sang vocals. If so she did a fine job. One thing to note is how the music gets more & more messed up as the film spirals down. The last song, "Half of Me (Enzo remix)" is so positively screwed up that it's almost a joke, but that's the point.

If you like this movie I highly recommend other films that delve into the theme of depraved artists and what fuels them: "Art School Confidential", the Aussie rock n roll comedy "Garage Days", and sure why not... Oliver Stone's "The Doors".