I’m not sure the final moments of the movie feel impactful enough for me, but this movie certainly has some incredibly incisive, disturbing, and well-observed things to say about who and how a culture enables predators. Susan Chardy is very compelling as the lead, and I hope to see her in more films.
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Bringing Out the Dead 1999
There’s a lot of excellent bits here, but for me they don’t quite gel into a cohesive whole. The performances—especially Ving Rhames and John Goodman—are terrific, the cinematography is gorgeous, and the gonzo stylistic flourishes (speed ramping, time lapse, jumping the line) feel fresh and surprising. But in striving to be part parable on the perils of burnout, part neonoir-ish meditation of the nature of death, part addict redemption story, part romance, and part live-action cartoon, the movie feels like it’s just trying to do one (or three) things too many.
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An Unmarried Woman 1978
There’s a moment where the music swells after Erica (Jill Clayburgh) and Saul (Alan Bates) have hit it off and we think we’re in the start of a romantic montage— but instead we cut to Erica ice skating with her friends at Rockefeller Plaza. Mazursky knew what he was doing. The female friendship storyline is a smart inclusion in this romantic/sad/funny/moving portrait of a woman at a crossroads in her life.
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