https://www.nationalreview.com/magazine/2021/12/27/the-power-of-the-dogs-unsettled-frontier/#slide-1
A movie that actually deserves its Oscar buzz.
In an age of strong ideological pressures, there’s an unusual frisson when a drama sets up a group of archetypes, develops them in what seem at first like very politically predictable ways — and then suddenly takes the story somewhere well outside of the audience’s moral expectations. That’s the case with The Power of the Dog, a historical drama currently being held up as an Oscar front-runner: It plays for a while as a western version of The Shape of Water — the tediously Manichaean Best Picture winner that helped usher in the Age of Woke — only to take a third-act detour into much stranger and darker territory. Or rather, what feels like a detour — until you reach the end, think back, and realize that the turn was coming all along.
The movie is the first film from Jane Campion since 2009’s Bright Star; in the interim she made the murder serial Top of the Lake, which is a good example of how a drama can conform to ideological expectations — it’s a feminist-themed story about the horrors that wicked men inflict on women and children — and still be absolutely terrific.