(Video On-Demand, March 2017) Director Tom Ford’s second feature is often just as controlled as his previous A Single Man, but it doesn’t quite manage to fully exploit the material at its disposal. Amy Adams is her usually remarkable self as an art gallery manager absorbed by her ex-husband’s roman à clef—thanks to some clever cinematography and dark clothes, her head often floats alone on-screen, focusing our attention on a role with a complex inner component. Told non-linearly while hopping in-between a base reality and fiction, Nocturnal Animals is happy to remain enigmatic even when dealing with terrible events. The novel-in-a-film is about gruesome murder, vengeance and a man losing everything. But what I did not expect to find here is as good a movie portrayal as I’ve seen of the reader’s experience with a great book: the way we get hooked in lengthy reading sessions, the abrupt transition from book to real life, the way the fiction bleeds into reality… I’m not sure any movie has quite shown it like Nocturnal Animal. This, paradoxically, makes the rest of it weaker, especially when it becomes obvious that reality and fiction are meant to interact and reflect upon each other (what a great idea to have Isla Fisher play Amy Adams’ fictional counterpart): the conclusion seems to hold its punches, and seems limp in comparison to what precedes it. Otherwise, we do get great performances by Jake Gyllenhaal and a pleasantly gritty Michael Shannon as a doomed policeman. Add to that the terrific cinematography and Nocturnal Animals gets a marginal recommendation—with the caveat that it doesn’t all click as well as it should.