Imagine “Blade Runner” (1982) filtered through the perspective of a young person with a dark sense of humor, blended with the visual flair of several filmmakers and incorporating elements reminiscent of “Gremlins” (1984), and you’ll have some idea of what to expect from Bryan Fuller's debut feature. The story centers on ten-year-old Aurora (newcomer Sophie Sloan), who is frightened by a monster she believes lives under her bed, despite the reassurances of her foster parents. However, Aurora has reason to be wary, as she discovers that the creature devoured both of her previous caregivers. Determined to eliminate this threat, she hires her mysterious neighbor (Mads Mikkelsen), a ninja-like assassin, to kill it. She’s familiar with his abilities, having secretly watched him defeat a group labeled “monsters” in Chinatown—though these were actually people trying to take him down disguised as a Chinese dragon. The hitman is initially doubtful about accepting a contract from a child (funded by money she casually took from a church collection plate), but he eventually agrees, especially since they are now both being pursued by monsters of their own, albeit in different forms. Together, this unlikely pair sets out to confront their respective demons, encountering unusual characters along the way, including the hitman’s enigmatic “handler” (Sigourney Weaver), a rival assassin ("inconspicuously conspicuous") portrayed by David Dastmalchian, and a puzzling child custody case worker (Sheila Atim) who isn't what she seems. All of this unfolds in a stylized version of New York City, boasting striking production design and beautiful cinematography that evokes the work of Tim Burton, Bill Condon, Baz Luhrmann, and the Coen Brothers. Despite the film’s meticulous attention to visual style, the narrative and writing don't quite reach the same level. While it attempts to combine fairytale sweetness—seen in the developing bond between Aurora and her new companion—with the darker tone of the Brothers Grimm, it doesn’t fully succeed, sometimes feeling repetitive and often leaving plot points underdeveloped or unresolved. The sound quality could also be improved at times. It's worth noting that, despite its young protagonist, this film isn’t really suitable for children unless they are exceptionally mature. “Dust Bunny” offers some thoughtful observations about the forces that haunt us and how to deal with them, and deserves recognition for the performances of Sloan, Weaver, and Mikkelsen, as well as its two Independent Spirit Award nominations for best first feature and cinematography. It's a shame that the substance doesn’t quite match the presentation, but perhaps this served as valuable experience for the filmmaker's next project. Be cautious when you peek under your bed.

Source on TMDB