Dan Gilroy’s characters from “Velvet Buzzsaw” feature some prominent names that are as uncommon and eccentric as the film itself. Some of these characters include Morf (Jake Gyllenhaal, “Okja”), Rhodora (Rene Russo, “Nightcrawler”), Damrishm (Daveed Diggs, “Blindspotting”) and Coco (Natalia Dyer, “Stranger Things”). The movie is also very fascinating, with its fair share of flaws as well.

The strong ensemble is the high point of the production with their tremendous chemistry. Leading the way is Gyllenhaal, continuing to establish himself as one of the best method actors around. He plays Morf Vanderwalt, a flamboyant art critic who determines who makes it big in the industry. His subtle body language as he starts questioning reality is sublime. Everybody in Gilroy’s world is “fake” and pretentious to each other. This is where the film acquires most of its satire. Another performance that stood out was Toni Collette (“Hereditary”) as Gretchen. She was the embodiment of wearing a mask to hide one’s real identity. Collette deserves more recognition in Hollywood, as she always seems to go above and beyond with her roles.  The cinematography by Robert Elswit (“There Will Be Blood”) highlights the gilded setting that all the characters are living in. During the climax, he creates a feeling of unrest for the viewer with tons of quick cuts. Most shots are well framed with an eerie feel to foreshadow future events.

The film, however, is not without some notable flaws. Gilroy seems unsure if he wants to make a horror or a comedy, as the shift in mood and tone feels abrupt and forced. One minute, it tells the story of greed through commercialization, and the next, “evil spirit paintings” are killing people without explanation. The story feels like a cross between the ’80s classic “Wall Street” and the redundant “Final Destination” franchise. The storyline is a bit ridiculous and farfetched with artwork coming to life. Also, do not watch the trailer because it gives away major plot points.

The film contains many predictable horror tropes, which include traveling alone and going into dark environments. Some of the gore was unnecessary as well. The film shows every vicious detail of the gruesome deaths, which add no substance. One death scene was overwhelmingly brutal and felt added in just for shock value.

The themes discussed in the movie are prevalent in today’s materialized world. Not valuing money over artistic expression is something Gilroy conveys frequently during the 113-minute runtime. The next question is “What is Art?”

Obviously, this is a highly subjective question because, as the famous phrase goes, “beauty is in the eye of the beholder.” The script makes it clear that anything can be art, even if someone else denounces it.

This was an ambitious film that will be analyzed for years to come. It feels uneven at times, but is a harmless addition to the Netflix catalogue. The philosophical ideologies portrayed are more interesting than the killer paintings themselves. This is not Gilroy’s “Sistine Chapel” or “Mona Lisa,” but it is an interesting watch.

Image from Netflix via YouTube