“‘The Sonata’ Hits One Great Note and Misplays the Rest”

I’m doing this thing in 2020 where I’m consciously avoiding cruelty or unkindness when writing about anything when the “thing” in question is not to my liking. Yes, sure, there’s the excerpt on this post, but it’s a dad joke, and dad jokes just don’t count.

The Sonata, on paper, intrigued me enough to seek a screener; Rutger Hauer, who passed last year, appears as the ostensible heavy, which I’m into, and it’s about music, which I’m also into, because music is a great way to convey horror. (See: The Perfection, which, admittedly, a mixed bag movie, but I dig the conceit.) But the film is more The Ninth Gate than anything else, and as much fun as the mystery hook is, there isn’t enough of it, and everything else is way too scattershot. 

Still, I like what Andrew Desmond has going on in his head, and while most of this movie doesn’t work, I’m on board to see what he does next. 

You can read my full review over at Paste Magazine.

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