X
In Theaters Now
- 2024
- PG-13
- A24
- 1 h 40 m
- 2024
- PG-13
- A24
- 1 h 40 m
Summary Teenager Owen is just trying to make it through life in the suburbs when his classmate introduces him to a mysterious late-night TV show — a vision of a supernatural world beneath their own. In the pale glow of the television, Owen’s view of reality begins to crack.
Directed By: Jane Schoenbrun
Written By: Jane Schoenbrun
In Theaters Now
- 2024
- PG-13
- A24
- 1 h 40 m
- 2024
- PG-13
- A24
- 1 h 40 m
I Saw the TV Glow
6.5
Where to Watch
Summary Teenager Owen is just trying to make it through life in the suburbs when his classmate introduces him to a mysterious late-night TV show — a vision of a supernatural world beneath their own. In the pale glow of the television, Owen’s view of reality begins to crack.
Directed By: Jane Schoenbrun
Written By: Jane Schoenbrun
Where to Watch
Top Cast
Metascore
Universal Acclaim
Based on 40 Critic Reviews
84
88% Positive
35 Reviews
35 Reviews
13% Mixed
5 Reviews
5 Reviews
0% Negative
0 Reviews
0 Reviews
Metascore
Universal Acclaim
Based on 40 Critic Reviews
84
88% Positive
35 Reviews
35 Reviews
13% Mixed
5 Reviews
5 Reviews
0% Negative
0 Reviews
0 Reviews
While Schoenbrun’s film embraces its many influences, it is a distinct work that lingers in the very soul. It’s not just one of the most original American films of recent memory, but the best of the year.
At times, the film feels like a musical nightmare full of sadness and raw angst.
User Score
Generally Favorable
Based on 44 User Ratings
6.5
61% Positive
27 Ratings
27 Ratings
14% Mixed
6 Ratings
6 Ratings
25% Negative
11 Ratings
11 Ratings
User Score
Generally Favorable
Based on 44 User Ratings
6.5
61% Positive
27 Ratings
27 Ratings
14% Mixed
6 Ratings
6 Ratings
25% Negative
11 Ratings
11 Ratings
I should start by stating that the director's first film "We're all going to the world's fair" was an absolute killer of a debut and it's actually in my top 10 favorite films of all time. So, needless to say, I was really looking forward to this follow-up. I will agree with some critics that the main character doesn't quite have the acting chops to pull off being in 3 different eras of life, but there's just so much style and substance here that I gave that one critique a pass. I also believe that both leads are supposed to have autism, which could influence your perception of the third chapter and ending. I really loved the vibe of this movie. The buzz around the tv show (within the film) The Pink Opaque reminded me a lot of the fan buzz around Buffy The Vampire Slayer and how it became a landmark of pop culture for that early 90's era. I also really liked the underlying horror that existed just below the colorful and vibrant surface. I personally think the plot was genius and while I knew watching it, that some would not be happy with the ending (that was also a common complaint with "Late Night With The Devil" which is a masterpiece), I believe that many are missing the context of what was happening. I'm not going to give away any spoilers, but the ending is very similar to the conclusion of We're All Going To The World's Fair in that what you're seeing may not actually be what's happening. In any case, uber stylish arthouse horror films like this are so few and far between that I will give this film all the praise it deserves and more! And that soundtrack! There's several scenes that place special attention on the musical performances and because they're given time to play out, they are so powerful and leave a lasting imprint. My only personal gripe was that the fathers in both children's lives were a-holes. Believe me, there's plenty of horrible, crappy mothers out there too. I should know, as my own mom was one of them,
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Incredible, moving and heartfelt movie about forming your identity and the pitfalls of rejecting this. One of the best films of the year
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It is at once a singular piece of pop-cult art, delivered with the brash confidence of a filmmaker who has either been told “no” too many times or not enough, and a film that could not exist without the contributions of Cronenberg and a dozen of his contemporaries and acolytes (including Donnie Darko’s Richard Kelly), their midnight visions co-opted by Schoenbrun into one slickly nostalgic neon-lit nightmare.
This is a film that gets savored through reflection as you put all the pieces together and realize the scope of its achievement.
I Saw the TV Glow marks a remarkable progression for Schoenbrun as both writer and director, a more substantive, if still challenging, narrative married with an incredible, expanded ability to fully immerse us in the visuals they have created. It’s made with such transportive precision that I can still feel it as I write.
This character-centered setup is where I Saw the TV Glow is most affecting, grounded by the tense, tacit bond between two highly guarded people — and given an electric jolt by Lundy-Paine’s fragile, volatile performance as someone certain there’s no accepting place for them outside the rectangular confines of the TV set. But
The film is a mesmeric but frequently muddled exploration of transgender self-actualization.
The marketing and ads for this picture are misleading – this is not a horror movie, nor a comedy, nor a drama. It's a creepy 90s tone piece about how nostalgia mixed with societal alienation can hijack one's connection to their true identity. If your mind went blank during that last sentence, you probably will hate this film. Everyone else will be **** into its claustrophobic world of half-remembered nightmares.
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Like being stuck in the 2nd row during an especially cringy, angsty evening of self-indulgent Teen Slam Poetry. Sort of pulls a tragic rabbit-out-of its-hat at the very end, but you have to endure a lot to get there. Lots of style, though. “It’s not the Nightmare Realm, it’s the suburbs”.
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Justice Smith (and earlier Ian Foreman) plays an extremely introverted character who meets a fellow student (Brigette Lundy-Paine). She introduces him to a popular sci-fi show, The Pink Opaque, and it becomes their obsession. Contrary to the trailer, this is not remotely a horror film, except on an existential level (or horrible for some audience members expecting thrills). Director Jane Schoenbrun is transgender, but instead of relating this experience with a traditional approach, they've chosen to deconstruct the film with an enigmatic, artsy angle that moves beyond logic. Yes, the characters are dealing with their own gender dysphoria, but mostly in a symbolic manner. There's plenty of confusion within their journey and with the seemingly haphazard narrative. There are elements that evidence this director has a unique vision, but the experience left me befuddled. NOTE: Director Jane Schoenbrun also directed a music video for Richmonder Lucy Dacus.
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After watching this piece of incoherent, unfocused rubbish, I would have much rather watched the TV glow instead. Writer-director Jane Schoenbrun’s incomprehensible smart horror offering is an absolute utter waste of time, not to mention the ticket price. This glacially paced story of two psychologically and emotionally troubled teens, Owen (Ian Forema) and Maddy (Brigitte Lundy-Paine), who bond over a cheesy late night 1990s young adult sci-fi/horror television series called The Pink Opaque struggles mightily to find its way. As Owen grows into an adult (Justice Smith), his cohort vanishes mysteriously when the TV series is abruptly cancelled, leaving him wondering what happened to her until she just as mysteriously reappears years later with a disjointed story that makes no sense from top to bottom. As the film’s narrator, Owen tries earnestly to explain, but his recounting of this experience is equally baffling, especially when he tells why Maddy has come back after her protracted absence. The result is an unintelligible tale that’s far from frightening (even metaphorically speaking) and ends up being a convoluted mix of 1990s teen angst, extended and inexplicably incorporated music videos, an exploration of sexual ambiguity, and a woefully wayward attempt at symbolically addressing issues related to personal disassociation and self-actualization. There are also numerous story elements and images that are included in the narrative that go undeveloped and unexplored. To its credit, the picture features a fine production design, intriguing cinematography, a good measure of campy comic relief (though not nearly enough of it) and a skillfully assembled soundtrack (handily this release’s best attribute). However, when a film’s musical guests receive greater billing than its cast members and the soundtrack ends up being its strongest asset, that doesn’t speak well about the production’s overall quality. To be honest, I get genuinely annoyed (and feel egregiously ripped off) when I leave the theater having screened a picture whose trailer and marketing seem to offer so much promise and end up failing miserably when it comes to delivering the goods, and that’s very much the case with this pretentious, **** cinematic train wreck. Don’t waste your time or money on this one.
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Production Company
A24,
Fruit Tree,
Smudge Films,
Hypnic Jerk Productions,
Access Entertainment
Release Date May 3, 2024
Duration 1 h 40 m
Rating PG-13
Awards
Berlin International Film Festival
• 2 Nominations
Seattle International Film Festival
• 1 Win & 1 Nomination
SXSW Film Festival
• 1 Nomination
