Director: William Oldroyd

Writers: Luke Goebel, Ottessa Moshfegh

Stars: Anne Hathaway, Thomasin McKenzie, Shea Whigham, Jefferson White

Synopsis: A woman’s friendship with a new co-worker at the prison facility where she works takes a sinister turn.

Few things are more frustrating than a movie capable of greatness that suddenly takes a sharp left turn in its third act to become a story that frustrates more than it satisfies, and that’s the case of Eileen, a mostly solid drama thriller based on the award-winning Ottessa Moshfegh novel. The character study work is excellent, the performances are all fine, and the gorgeous cinematography by Ari Wegner gives a vivid sense of place. For a long while, Eileen has the absorbing slow burn effect of the similarly themed Carol, with its period Christmas setting, and two female characters finding a strong emotional connection with each other. 

The story tells of a young woman named Eileen (Thomasin McKenzie) who works at a men’s prison in 1960s Massachusetts. Her job doesn’t offer much excitement day to day, to the point where she imagines herself having sex with one of the security guards. Eileen’s life at home isn’t any better, her alcoholic father often screaming at her from the top of a staircase. She needs something to shake things up, and soon, in comes Dr. Miss Rebecca St. John, the prison’s newest prison psychologist played by a blonde Anne Hathaway. They share a flirtatious glance as soon as Rebecca is introduced to her co-workers, and soon thereafter they’re chatting in empty hallways and storage rooms, Rebecca lighting up a cigarette and projecting an aura of confidence and authority. They meet up for a drink, go dancing. Eileen thinks she might be falling in love.

Director William Oldroyd (2016’s Lady Macbeth) infuses the first riveting hour with a delicate, absorbing pace, allowing Rebecca to remain just enough of a mystery to have the viewer become entranced with her the same way Eileen is. The characters slowly reveal themselves to be more complicated than they appear on the surface, Rebecca clearly uninterested in the men who come on to her, wanting instead to hold Eileen until the late hours of the night on that dance floor. Hathaway and McKenzie are fantastic in this stretch of the movie, feeling authentic to the time and place and in their affection for each other. Hathaway particularly hasn’t played a character this sensual and mysterious in years.  

When Rebecca invites Eileen over to her house late at night, Eileen thinks she might get lucky with the older psychologist, and during an intimate chat around the kitchen table, the flirtations increase to the point where the two might even kiss. But then that crazy twist occurs, Rebecca reveals something she’s done almost no viewer will see coming, and it’s at this moment that the film Eileen goes off the rails into dark thriller territory that is semi-interesting to be sure, but also ultimately brings the movie down, especially on an emotional level. The decision Rebecca makes feels forced, not entirely true to her character, and not keeping in line with all the events that came before. What Eileen herself goes on to do is even more troubling, and out of character, her hallucinations somehow manifesting into a moment of shocking violence.

In some ways, this third act shift might have worked if the screenwriters Goebel and Moshfesh had dealt with it in a more nuanced way and with more time spent with the characters. This is a criticism I rarely throw at movies these days, but I would’ve liked Eileen to be twenty minutes longer because as it stands with its brief ninety-seven-minute running time, the film falls pretty flat at the end. You’re supposed to believe that one of the main characters has enjoyed an epiphany that will send her life in a better direction, but the final scenes go by so quickly that it’s difficult to be emotionally affected by the story’s outcome.

I read Moshfegh’s novel in college, and the weakness of the film’s third act plays much better in the first-person written form through Eileen’s eyes, Moshfegh allowing that later scene of suspense to breathe over the course of many pages. The motivations of the characters are better fleshed out, too, but in the movie, everything happens too abruptly to care about the genre elements of the story. Our interest and hearts are with that intriguing relationship between Eileen and Rebecca, and that becomes lost in the final act, Hathaway’s presence especially absent when we want to see more of her.

Alas, there is lots to like about Eileen, with plenty of standout achievements at the technical level as well as a variety of excellent performances. Hathaway, as I said, is divine, so charismatic throughout the first half and clearly relishing this role. McKenzie, a New Zealand actress who’s been great in films like Leave No Trace, Jojo Rabbit, Last Night in Soho, and The Power of the Dog, is a tremendous talent you can’t look away from, and who gives Eileen the right balance of vulnerability and danger. I liked Eileen; I’d go as far as to say it’s two-thirds of a great movie. But it’s nowhere near Carol great, that’s for sure. 

GRADE: B- 

Director: Alice Englert

Writer: Alice Englert

Stars: Jennifer Connelly, Ben Whishaw, Alice Englert

Synopsis: The film is a dark comedy about Lucy, a former child actress who seeks enlightenment at a retreat led by spiritual leader Elon  while she also navigates the close yet turbulent relationship with her stunt performer daughter, Dylan.

Occasionally – or even often, to be completely honest – I blindly jump into movies exclusively due to the cast listing or the leading actor/actress. Bad Behaviour is one of those films for me. Jennifer Connelly holds that star factor that, independent of the type of story she gets herself into, I’m in. That said, I genuinely didn’t know anything about Alice Englert’s feature directorial debut. After sitting through little less than two hours of growing frustration, I wish I knew the protagonists would be such terrible, despicable, toxic human beings.

Obviously, Bad Behaviour wants to make a point by following uninteresting, stressful characters that seem to destroy any source of joy in their path. The issues inherent are just too many for viewers to actually care about it. From the extremely unbalanced tone to the messy narrative structure, Englert isn’t able to focus her thoughts, falling off a precipice into dull, repetitive scenes lacking true sentiment. There’s even a fully animated sequence that comes out of nowhere – like many other moments – which pushes the viewers further away from the story instead of reeling them in.

Motherhood will never cease to be a topic worthy of in-depth study. More specifically, mother-daughter relationships can be incredibly complex, just like any other parent-child bond. All families share different ways of living. From making mistakes to learning from them, from dealing with trauma to avoiding it, the presence and support from our closest family members is vital for moving forward in a healthy manner. There are clear attempts at exploring why the mother, Lucy, and the daughter, Dylan, feel so separated from each other. I kept waiting for the momentum to shift… and it did. It’s just a pity that this only occurs midway through the final act of Bad Behaviour.

Until then, it’s a never-ending sequence of nonsensical displays of hateful dialogue and unreasonable actions. One has to endure characters constantly hurting others, whether it’s verbally or physically, and most of the time, it feels miserably hollow. It’s one of those movies that survives due to the dedicated performances from the cast, but even concerning this aspect, it’s a shame that such a brilliant actor like Ben Whishaw is so wasted.

Nevertheless, Connelly warrants all the praise. An all-in, powerful performance from an actress that didn’t deserve to lead such a disappointing flick. In the midst of all the confusion, the viewers can still rejoice at the fact that they’re witnessing a phenomenal actress demonstrating all of her talent and commitment to a role. Englert is also pretty good, much better than in exploring the mother-daughter theme.

A final note: I’m unaware of how much of a personal project this is or even if it’s personal at all. Still, Bad Behaviour is one of those films I just couldn’t connect with in any shape or form. There’s a layer of exaggeration and overdramatization that makes it all feel fictional and less grounded. And that, to me, turns into a massive obstacle to overcome. I hope others can feel the opposite.

Grade: D+

Director: Brandon Cronenberg

Writer: Brandon Cronenberg 

Stars: Alexander Skarsgård, Mia Goth, Cleopathra Coleman, Thomas Kretschmann  

Synopsis: James and Em Foster are enjoying an all-inclusive beach vacation in the fictional island of La Tolqa, when a fatal accident exposes the resort’s perverse subculture of hedonistic tourism, reckless violence and surreal horrors.

“Boring” wouldn’t seem to be the first word that comes to mind with a new movie directed by Brandon Cronenberg (Possessor) and starring Alexander Skarsgård and last year’s break-out Mia Goth, but after an intriguing opening that sets up the characters and environment, Infinity Pool gets so weird so fast that it becomes difficult to care. This is one of those flashy, well-made genre films that will have its fans, but I found it to be a frustrating medley of several other projects that told their unusual stories with more depth and precision.

Infinity Pool has the feel of The White Lotus at the beginning, a novelist named James (Skarsgård) and his wife (Cleopatra Coleman) staying at an elusive beach paradise in the country of Li Tolqa. It’s a place where the rich come to get away with anything they want, including murder, and where director Cronenberg chooses to transplant his characters into a place that slowly devolves into Hell. Goth plays Gabi, who recognizes James from his latest book she’s read, and she invites him and his wife to a dinner that leads to a late-night car ride that results in a violent death and a terrifying fate for James. 

I’m all for weird movies that don’t play it safe, that shock and disturb and refuse to play by the roles, but these kinds of films need to have interesting characters to care about and a compelling narrative that pulls you toward a satisfying conclusion, and Infinity Pool has little of that. Part of the problem begins with Skarsgård, sad to say, because although he’s given lots of great performances, especially in season one of Big Little Lies and as Amleth in last year’s The Northman, he usually fares better as a villain or as an intimidating figure to be feared. The character of average Joe who’s often scared and looking wide-eyed doesn’t suit him as well, and casting someone more vulnerable like Andrew Garfield, Paul Mescal, or Dev Patel would’ve allowed an offbeat story like this a better chance at success.

Mia Goth, alternatively, is perfect casting for the film, her roles in both X and Pearl two of my favorites from last year; the problem is her character doesn’t stand out much from those better, more emotional turns she’s given us in genre fare in recent months, and her delivery in Infinity Pool doesn’t have the same power as her delivery in Pearl, especially. The character feels underwritten, one meant to coast by on her charisma alone, and Gabi needs more to do, especially as the story begins to spiral into several chaotic directions.

You can’t fault Cronenberg for going bold with some choices, most memorably with a close-up of someone’s body part that seems impossible to have made it into an R-rated movie. But it’s this kind of moment that turned me off early on, there is no specific reason why this explicit shot exists other than to shock the viewer. Later, when science fiction elements take over, including clones of the characters we’ve already met, Cronenberg delights in a variety of ways of executing those clones to an outrageous extent. And as the story descends more and more into madness, any meaning the story was supposed to have seems to be lost, and any enjoyment rests simply on the surface of the filmmaker’s aesthetics. 

And for all its outrageous images, there’s too much of a feeling of déjà vu. A seemingly never-ending scene involving a hit-and-run feels ripped right out of I Know What You Did Last Summer, even in the direct dialogue between the characters that happens after the crash, and as much as I enjoyed the hypnotic images of the characters wearing weird masks on the way to a late-night event, this sequence reminded me too much of Eyes Wide Shut, which Stanley Kubrick accomplished better in terms of style, substance, and the arc of the main character. 

By the time we reach the final act of the absurdly long two-hour running time, I had stopped caring about what was going to happen to the characters, and that is death for me in any movie. A film can be slow, weird, uneventful–fine. But if the characters aren’t pulling me through a story like they should, I check out. Writer/director Brandon Cronenberg’s father David understands how to blend sharply written characters with horrific situations in masterpieces like The Fly, Dead Ringers, and A History of Violence. Infinity Pool, on the other hand, is a disappointing late January release that will likely come and go, and here’s hoping next time Brandon Cronenberg will use his talent for dazzling visual storytelling for something more involving on a narrative level.

GRADE: D

Sundance Movie Review: ‘Fair Play’ is a Rip-Roaring Romance Thriller Not To Be Missed

Director: Chloe Domont

Writer: Chloe Domont 

Stars: Phoebe Dynevor, Alden Ehrenreich, Eddie Marsan, Rich Sommer, Sebastian De Souza  

Synopsis: An unexpected promotion at a cutthroat hedge fund pushes a young couple’s relationship to the brink, threatening to unravel far more than their recent engagement.

When I read that Fair Play sold to Netflix for a whopping twenty million dollars, I was not surprised. The first film I saw at this year’s Sundance Film Festival, Fair Play immediately drew me in with a memorably twisted opening scene that sees a young couple get engaged in a bathroom after a sexual mishap. They have chemistry, they’re in love, so why don’t they tell all their friends and family the good news? Well, as it turns out, Luke (Alden Ehrenreich) and Emily (Phoebe Dynevor) have an unusual relationship in that they both work as analysts at a hedge fund where romantic relationships violate company policy. 

The two keep their relationship a secret behind closed doors, even relish their misconduct as they sneak glances at each other in the work elevator, but their happiness together comes crashing down when Emily becomes the sudden choice to become the hedge fund’s new portfolio manager, a high-stakes position at the company she insisted Luke would get. Campbell (Eddie Marsan), the owner of the company, makes it clear Emily is more valuable than Luke ever was, and the balance of power starts to slowly chip away at the love and intimacy between the young couple, eventually to an explosive effect. 

This feature directorial debut of Chloe Domont—she’s directed episodes for the television series Billions and Ballers—has an intriguing set-up that makes you care about the characters and features a high-stakes finance company setting that is fascinating from minute one, but it’s the ratcheting up of tension in the second half that makes Fair Play a true stunner. Other filmmakers might not have gone for the throat the way Domont does with Luke and Emily, but she never backs down on just how ambitious and, at times, completely insane these characters are when it comes to their work and the images they want to project to everyone else. 

There are scenes of startling chaos, Luke’s jealousy for Emily’s promotion making him quietly seethe with rage until he finally explodes at her in their condo, Emily unloading on him with even more antipathy, their relationship not only turning sour but shockingly dangerous by the film’s third act. Domont has written a brilliant screenplay that manages to make the two leads realistic even when their situation turns scary, mean, and positively Shakespearean toward the end. She understands the finance world, too, the setting always believable and continually adding to the tension, and she never forgets to make the movie entertaining, the narrative eventually bordering on the thriller genre, not a single moment wasted within its running time. 

Of course, none of Domont’s astonishing writing and directing would matter if the actors didn’t match her talent, and do they ever. Phoebe Dynevor gives an astonishing performance that will be talked about in the months to come; her confidence, sexiness, and intelligence coming through in every scene. I love how she never allows Luke to tear her down, always stays true to her values and self-worth. She’s most well-known for Bridgerton, of course, but this project will put her on the map for more juicy modern roles in cinema. Alden Ehrenreich hit a road bump in 2018 with his starring role in the underperforming Solo: A Star Wars Story, but Fair Play should bring him right back to the top as an in-demand dramatic actor, his later scenes emotionally raw and intense as Luke’s mental stability begins to crumble.  

The supporting cast is top-notch as well, like Rich Sommer and Sebastian De Souza, and especially Eddie Marsan as a ruthless, intimidating figure at the hedge fund who will pretend to be your friend until you make a decision that loses his company money. He says rotten things to Emily when she makes a bad financial call, he sneers in the face of Luke when he makes a plea to further his career. He’s the kind of boss who can make or break you with the snap of his fingers, and Marsan delivers a brilliantly modulated performance that should be remembered come awards-time. 

Fair Play is a harrowing drama that features one mesmerizing scene after another. Just when you think Domont won’t go that far, she does, and takes the characters into even deeper realms of Hell. A later scene in a bathroom that slightly emulates the main characters’ first scene in a bathroom is ugly and brutal, and the final scene, which I wouldn’t dare give away, sticks the landing in the most amazing way. There might be one too many scenes of the characters screaming at each other in the second half, but I loved almost everything about this; it’s one of my two favorites from the Sundance Film Festival. If you’re a fan of tense romantic thrillers that will challenge you, surprise you, and totally astonish you, Fair Play is a movie not to be missed. 

GRADE: A-

Director: Nida Manzoor

Writer: Nida Manzoor

Stars: Ulli Ackermann, Pritom Ahmed, and Sophie Aislin

Synopsis: Ria Khan believes that she must save her older sister Lena from her impending marriage. After enlisting her friends’ help, she attempts to pull off the most ambitious of all wedding heists, in the name of independence and sisterhood.

Cinephiles add films to their watchlists for several different reasons. Maybe it’s from their favorite director, writer, or actor. Perhaps it belongs to a beloved (sub)genre. Sometimes it’s literally just because it’s part of some cinematic universe or another type of franchise. Nowadays, moviegoers are less likely to go to the theater or click play exclusively due to how much the story got their attention. One of the most extraordinary things about covering Sundance is that the vast majority of films are completely unknown. No marketing campaign or overwhelming hype surrounding them whatsoever. I wanted to watch Polite Society because its premise had everything to leave me with an ear-to-ear smile…

And it did. Nida Manzoor delivers a movie that looks straight out of a true comic book. Emphasis on the “true” adjective there. When it comes to film adaptations, adjustments are made to the narrative, characters, costumes, and overall visuals due to how extremely colorful and children-oriented this type of source material usually is. Since studios think a more set-in-our-world kind of tale is more broadly accessible, everything gets a more “realistic” look. Polite Society barely does any of those expected modifications, but don’t let my words mislead you: it is an original story.

It’s relatively easy to see similarities with the series Ms. Marvel. Not only the Pakistani culture is also proudly (re)presented on-screen – costumes, music, traditions, family heritage, and more – but the whole movie is packed with light humor, fun action scenes, and a pretty cool wedding ceremony that, of course, doesn’t quite go as planned. Polite Society embraces the intentional over-the-topness of it all, which might be a major issue for some viewers. Tonal balance is a very tricky filmmaking aspect to get right; but personally, I highly enjoyed Manzoor’s creativity and boldness in going all-in.

From the witty song choices to the hilariously epic use of slow-motion, without forgetting the stylized title cards, Polite Society is arguably the most distinctive film of the festival, whether viewers end up loving it or not. The cast understands the mission, contributing to the incredibly energetic atmosphere with amusing performances. Priya Kansara works perfectly as the relatable protagonist, Ria Khan, a young woman who dreams of becoming a stuntwoman. When her very close sister – beautifully interpreted by Ritu Arya – changes plans and moves on from her own dreams, Ria doesn’t take it well.

Hence, in the middle of so much chaos, Polite Society explores Ria’s mixed feelings – jealousy, fear of failure, will to protect – within the themes of sisterhood, self-belief, and life balance. Part of me wishes that these topics would have been more profoundly developed, but there’s nothing wrong with focusing on an entertaining, action-driven flick. Obviously, keeping in mind the main character’s dream job, the stunts are pretty great. Once again, I wish there was more choreography and long takes involved – a lot of throwing against and through things – but it’s undoubtedly fun to watch.

The generic screenplay doesn’t hold any major surprises, which basically makes the viewer’s enjoyment rely exclusively on the crazy feel and look of Polite Society. If the action doesn’t really impress you or if the purposefully exaggerated tone is too much to handle, then this may not be for you. But if Manzoor’s maximalist style conquers your full attention, then you’ll hardly leave unsatisfied. Final remark to Nimra Bucha’s phenomenal performance – yet another Ms. Marvel similarity.

Grade: B

Director: Rachel Lambert

Writers: Stefanie Abel Horowitz, Kevin Armento, and Katy Wright-Mead

Stars: Daisy Ridley, Dave Merheje, and Ayanna Berkshire

Synopsis: Fran, who likes to think about dying, makes the new guy at work laugh, which leads to dating and more, now the only thing standing in their way is Fran herself.

To this day, “slow-burn” remains a characteristic that either gets people excited or immediately worried. The reasons are pretty simple. On one hand, a slow film can be one of the most immersive cinematic experiences a viewer might have, if done right. From atmospheric technical attributes to characters worth the emotional investment, if the viewers connect with the subject matter, they’ll easily lose themselves on the big screen. On the other hand, it can also become one of the most challenging movies to get through if it’s meaninglessly boring. Sometimes I Think About Dying is somewhat in the middle of these two poles.

Something about this film got my attention. Daisy Ridley definitely stands out from the cast, but personally, I found the seemingly generic premise to hold great potential. Sometimes I Think About Dying sets its action in a small town, following Fran (Ridley) living her utterly boring, uneventful daily life. Fran wakes up early, walks to her dull desk job in a dull office space, takes care of dull spreadsheets, returns home, has a dull microwaved dinner, and sleeps early. Get the gist? Essentially, she lives a dull (!) life where nothing really impactful occurs any day.

That is, from her perspective. Fran isolates herself from any sort of social interaction. Depression, anxiety, insecurity, or simply lack of interest are real-life issues that many viewers will easily relate to, even if they can only associate a small part of their lives with it. Personally, as someone who, in fact, works at a desk every single day, whether at the office or at home, the repetitive nature of the job inevitably creates some phases of pure tedium. Honestly, if not for the wonderful group of co-workers and friends surrounding me, I’d be much more like Fran, which is what Sometimes I Think About Dying does excellently.

It’s a sad, depressing, even tiresome experience, but that’s just part of life. Not everyone is constantly happy. Not every day is a great day. The movie succeeds because it’s so relatable and lifelike. Without realizing it, the audience develops a strong connection with the protagonist, elevating one of the most beautiful, inspirational final shots I’ve seen recently. Obviously, the cast does a good job of forming that bond with the viewers, especially Ridley, who genuinely gives a career-best performance. Her microexpressions go a long way in showing how her character evolves throughout the runtime.

Sometimes I Think About Dying is wrapped by bland aspects: an almost squared aspect ratio, typical camera angles, a colorless palette, a sleep-inducing score (Dabney Morris), and short, sparse dialogue – most of the talking in this film is mere background noise. Fran’s random, weird dreams are the most stimulating parts precisely because they break that overall monotony. Still, as purposefully bland as it might be, director Rachel Lambert is able to grab the viewer’s attention. As a fan of The Office, the witty humor really worked for me, but I can’t deny the fact that I’m never watching this movie again.

This is one of the most frustrating things about being a cinephile. I totally understand the filmmaker’s intention, themes, and messages. I even personally relate to some of it. However, in the end, the repetitive structure and “nothing happens” narrative undeniably lower the replay value. In addition to that, there are many topics that I couldn’t find a reason to invest in due to a lack of connection with the other characters. Still, after a good night’s sleep, I actually feel more positive than yesterday, so maybe it’s a film that will grow on me over time.

As one character puts it, “it’s hard being a person”. And with that, I can fully relate to.

Grade – B-