“The Thing with Feathers” follows a father whose grip on reality comes crumbling as he raises his sons alone after the death of his wife.

As an exploration of grief, “The Thing with Feathers” takes its time analyzing the characters. Even before the literal metaphor begins, the first 30 minutes of the film focus on the dad (Benedict Cumberbatch), exploring his emotions and pain in the aftermath of tragedy.

Metaphor that Transforms the Story

Once the crow appears, these themes grow even more complex. While many will find the presence of a large crow heavy-handed or too over-the-top, this is actually what allows “The Thing with Feathers” to flourish.

Grief is unpredictable and messy – overwhelming emotions that manifest differently in every person who experiences it. By creating a literal form of those feelings, the movie is able to show all the different facets of grief and what it causes.

This isn’t only effective from a storytelling perspective but also on a visual level. “The Thing with Feathers” is a beautiful film. It utilizes a variety of lighting techniques and shooting styles to make this metaphor work. The mix of prosthetic makeup and special effects bring the monster to life. A claustrophobic feeling is also present in every scene, as the weight of grief seems to close in on the audience as well.

Surrealism and Fractured Emotion

“The Thing with Feathers” isn’t a straightforward film, and that will frustrate some audience members. Those who stick with it will likely have a lot to take away, though. Due to the nature of the story, much of the film leans into artistic expression – both in the narrative and the visuals. It’s not limited to reality, with a surreal style shining through.

This disconnect from reality once again ties back to grief. It makes the moments of surrealism all the more effective, representing the fractured mind of someone navigating these dark chasms of emotion.

Cumberbatch delivers a powerhouse performance. He shifts from despair to rage to happiness repeatedly, doing so with effortlessness that makes his character feel real. Even in silence, Cumberbatch brings a grounded truthfulness that will be relatable to many.

Surprisingly, “The Thing with Feathers” finds its stride when the focus turns to the boys. Richard and Henry Boxall both succeed with a pair of endearing performances. While they don’t take up as much screen time as Cumberbatch, it’s arguable that their presence is even more important.

A Slow Burn with Purpose

Because of this, the second half of “The Thing with Feathers” flourishes. Taking a more dramatic approach, the movie finds its heartbeat in the broken relationship between the father and his sons.

The three performances make this connection feel authentic.

Performed by Eric Lampaert and voiced by David Thewlis, the crow is one of the most memorable characters of the year. It’s both terrifying and comforting, thanks to the respective work from both actors.

At its core, “The Thing with Feathers” is a drama. It’s also part thriller and even full-blown horror in moments. It succeeds in all three aspects – separately. However, it isn’t able to seamlessly combine them. This makes the film tonally jarring at times, as it often shifts gears without much notice.

With a 98-minute runtime, “The Thing with Feathers” moves by quickly. It could be considered a slow burn, but one with purpose. The cyclical nature of grief may present some repetitive moments, but the film handles them in ways that resonate.

“The Thing with Feathers” is a powerful story about grief. It’s metaphorical and surreal, with a central idea that will likely have viewers either loving it or hating it. Look a little deeper, however, and there’s a movie full of heart.

Rating: 4 out of 5