With some of the previews, one would suspect that "Wicker" is Much more naughty than it is. Though it does play to that inherent strength and novelty, it is surprisingly sweet but it is an innocuous fable on class and social norms. Olivia Colman plays a fishmonger woman who is made fun of by the local people especially the gaggle of women led by Elizabeth Delbicki's social housewife who is simply married to a tailor. Now granted this takes place in Europe during what could be considered the Dark Ages. Childbirth often ended in death and a simple cut could turn into something much worse. The spin has to do with Peter Dinklage’s character who can somehow make a living creator from wicker (or other materials for that matter). We never get a feeling if he is a magician or anything else. Dinklage’s scenes by himself (which actually doesn’t show him building which is both smart and budget conscientious) are inherently him pondering like Shakespeare incarnate. These scenes are different from the reat of the film tonally but it does reflect the fable context. Alexander Skarsgard who is hidden under some interesting prosthetics plays Wicker Husband beautifully if not minimally. After "Infinity Pool" this is a wonderful anti-thesis to that without losing edge. His Wicker Husband is made for Olivia’s fishmonger even if she doesn’t believe he has free will. But as it builds it is not innocuous. He is gentle towards her and loyal despite any subterfuge the village might be creating. When he comes for a drink in a pub the way the villagers play against him is quite comical but also human, because they accept his existence as a reality (so we do as well).
Colman plays this fishmonger at just the right pitch of aloofness, hurt and wonder. Colman is good at knowing where she is at. In "The Roses", she was very aware of this as well. She and Skarsgard play the love scenes with a great awkward humor and an almost Burton-esque playfulness in the absurd. But it still comes off sweet. When they break the bed, he says simply says, "Give me a hammer. I will fix it." It sounds simple but making a scene play straight and heartfelt without cheesiness is a fear. The darkest scene of the film is actually between two women picking berries which is beautifully played between Delbicki and Colman. A simple story overarches the entire narrative but each character has their own flaws while pointing back to their two central characters and the townswoman who is trying to maintain her control (which actually isn't control anyway). A mid-film comic scene turned deadly actually opens up a larger issue also which Dinklage’s Creator seems to overlook because of the sense of money. But that is human. Most of the scenes are simply created and it is all practical. A specific special effect is wonderfully crafted and adds another issue (and level) to the mix. This leads Colman to a realization. Alex Fisher and Eleanor Wilson co-direct and co-write and even though they have very few credits their voice and control of the narrative is very strong even if this film may fall underneath the radar in many ways. The performances are strong as is the visual style. "Wicker" is gem that has its own rules, doesn’t go too dark or two light and sees the best and worst in people without getting too graphic about it. One cameo says it all about disturbing the tone. "Wicker" balances creativity, a morality play, a comedic drama and a fable all together into a beautiful cauldron that evens in its final 10 minutes knows exactly what it is but doesn’t have to hit one over the head with it. 94%/A
By Tim Wassberg
