‘Et Tu’ Review: Lou Diamond Phillips Excels in Shakespearian Descent into Madness
Shakespeare is no stranger to horror. Adaptations and homages to the brilliant playwright’s work have been featured in the genre countless times, perhaps most notably in the Vincent Price-starring Theater of Blood. In that regard, writer/director Max Tzannes’ Et Tu finds itself in awfully familiar territory. But the filmmaker’s new horror comedy has a secret weapon: an utterly unhinged performance by Lou Diamond Phillips.
Et Tu sees the well-known actor take on the role of Brent, a stage director putting on Shakespeare’s tragedy, Julius Caesar. Already on edge, he convinces himself that Marcus (Brennan Keel Cook), the actor playing Brutus, is sleeping with his wife. Meanwhile, understudy Terrence (Antwone Barnes)—a much better actor than Marcus—dreams of taking the stage in the role. After an unfortunate but not so accidental “accident”, both Brent and Terrence find themselves entangled in a web of murder. But as Terrence struggles with his crimes, Brent embraces the madness that has been unleashed in him…killing any and every person involved with the show that so much as looks at him wrong.
Befitting of Shakespeare, Tzannes approaches Et Tu with a flair for the dramatic. From composer David San Miguel’s operatic score to cinematographer Jacob Souza’s intense framing, the film sets the stage for a histrionic display of thespian madness. Actors argue over who should be playing what roles. Vicky (Jaclyn Mofid) the Prop Master follows Brent around, screaming about the fact that Marcus keeps stabbing people with a prop knife. We learn that the casting of Marcus was forced on the struggling director and that the young actor may have even murdered his stepmother. There’s also a little history about a massacre that took place at the theater years ago. Lies. Betrayal. Murder. A romance between Terrence and fellow understudy, Margaret (Isabella Blake-Thomas). Shakespeare would approve.
Et Tu lures the audience in with the Best in Show-like insanity surging behind the scenes of the production, but it’s Phillips that keeps them in their seats. When we first meet Brent, he’s already well past the brink. His wife/producer Nadine (Rachel Alig) and the entire cast see it. Rage seethes through him, represented by red coloring everywhere we turn. It’s all very Jack Nicholson in The Shining.
Legendary actor Malcolm McDowell even makes an appearance as a janitor character that acts as an extension of Brent’s conscience, much like Lloyd the bartender from Kubrick’s classic. Phillips has long made a career out of appearing in B-level horror such as Bats or the recent Werewolves. Here, he’s at his very best. Time and again, the accomplished actor had me squirming in my seat with his intimidating display of bubbling anger. When he eventually explodes, it’s a sight to behold.
While we recognize Shakespeare more for his tragedies, he wrote a good handful of comedies, as well. Tzannes pays tribute to the writer by infusing both into Et Tu. Disturbing elements like bodies hanging from the rafters abound, but it’s all delivered with a tongue-in-cheek smirk. Et Tu never takes itself too seriously. Brent doesn’t just go mad; he goes completely off the rails, picking off anyone who so much as giggles during an inappropriate moment. His madness extends to the entire production, whether it be actors becoming their characters or Vicky’s increasing frustration. All of it is a darkly humorous display of sacrifices made in the name of art. The comedic undertone never quite reaches levels of hyena laughter, but I can’t say I wasn’t amused.
Unfortunately, Et Tu’s script doesn’t always flow as smoothly as the exceptional performances accompanying it. There’s the occasional plot point that comes off about as forced as the many daggers into Caesar’s heart. That aforementioned “accident”? My eyes rolled into the back of my head at how preposterous the setup is. Tzannes might as well have entered the scene and committed the crime himself.
Et Tu is also quite shallow, both thematically and in its fleshing out of the characters. With Brent already well over a cliff and falling into the dark void of madness from the moment we meet him, his arc is more of a straight line to nowhere. As for the others? They’re no more complex than whatever trope has been assigned to them. For example, we never learn if Marcus killed his stepmother, one of a handful of background bits that go entirely unexplored. Tzannes doesn’t take us any deeper into the flesh of anyone than the thin theme of the pursuit of success leading to madness.
All that and the familiar territory aside, Tzannes expresses a knack for dark humor that earns Et Tu entertained applause. Part of that is thanks to an enthusiastic cast that keeps the film plenty engaging, even when the script itself is lacking. More than anything, though, you’ll want to see Et Tu if only to witness Lou Diamond Phillips at his scariest. He deserves to take a bow on stage to a standing ovation.
Et Tu is now available on VOD.
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Et Tu
Summary
Lou Diamond Phillips and an enthusiastic cast keep Max Tzannes’ ‘Et Tu’ plenty entertaining despite an otherwise shallow script
Categorized: Reviews
