The idea of a monster lurking under the bed is a childhood nightmare that many can look back on with a sense of familiarity and not-so-fond memories. Writer-director Bryan Fuller takes that idea and twists Dust Bunny into a colorful fairytale of humor and horror. It features some great performances that help drive the story, including a young girl who charms and delights from start to finish.
Ten-year-old Aurora (Sophie Sloan) cries about a dust bunny turned monster living under her bed. Creaky floorboards by night are like ringing the dinner bell for this particular beast. Her parents, who ignore her pleas and warnings, soon fall victim to the monster. That leads Aurora to turn to her neighbor, a hit man with no name (Mads Mikkelsen), to help kill the beast. This triggers a series of events that include great conversations, more assassins, and one tough-to-kill monster.
Sloan and Mikkelsen play off each other beautifully. Sloan is much wiser and more troubled than her young years suggest. Meanwhile, Mikkelsen’s hit man reluctantly agrees, believing his lifestyle has contributed to her parents’ deaths. What unfolds is a compelling back-and-forth dialogue that initially forms an uneasy alliance, which then evolves into a surprising bond between the two—one that drives the film, even as the threat of the monster always looms. As Aurora, Sloan more than holds her own in scenes with Mikkelsen, creating anticipation among the audience for their interactions.
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Fuller, making his feature directorial debut, adds a touch of visual wonder to what could have been a straightforward monster hunt. His odd but wonderful production style adds color and flavor to the story. The cast is fully invested in the strange, offbeat tale he has written, making the exchanges fun, with many one-liners and playful dialogue, especially from the assassin community. To that end, adding David Dastmalchian as an assassin is perfect casting, as he embodies the quirky and oddball comedic feel like a second skin.
As Mikkelsen’s handler, Sigourney Weaver is also on board. She moves from stoic supporter and messenger of jobs to a worried businesswoman as Mikkelsen begins to spin tales of monsters and protecting Aurora. There is an excellent scene with the three of them that perfectly illustrates the joy and oddities this film has to offer.
Fuller lays out and paces the film well, putting some rather drawn-out scenes quickly in the rearview mirror with a fun combination of action and humor. With everyone on board, the film easily moves from crazy action to comedy. When it works, it really works well.
The fantastical and fantasy vibe of the film doesn’t get in Fuller’s way in the last act, as bodies drop at an alarming rate. However, because the film is set up this way, it has a violent but bloodless climax. It gives you the sense that Fuller is still aware of his vision and keeps it on point right until the end.
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Anyone who has seen Fuller’s Hannibal will understand how he works visually. However, the three seasons of that TV show were much bloodier and visually shocking. Still, the same man is here painting this picture, and the look, feel, and tone are well done.
While Dust Bunny is a familiar monster tale with Fuller’s quirky dialogue, visuals, and humor added to the mix, it is, at its core, the story of a girl’s tragic and troubled life. She seeks peace and some semblance of normalcy, something she has never experienced. The ending is fun and hopeful, yet it warns us that we must learn to confront our own monsters in life if we want any chance at a true fairytale ending.
Dust Bunny is now in theaters.
