Mtn Shelby

I have been a huge fan of Nicole Kidman since her first films. It was extremely difficult to watch her in this film, her surgically mishapen and frozen face, the harsh makeup, the terrible wig or hair, the terrible costume choices that made her look skeletal. I just couldn't see her in this role, it was very, very cringey.

This series reminds me of the spin cycle of a dryer. Start with a messy lump, toss it around across a few episodes, and end with a messy lump. What has the character learned? What have we?

Silly and pretentious. The script is so contrived and cringey. Glad it was free. If you want to see this topic handled with complexity, watch Lolita or Notes on a Scandal.

The film is well done but it is so hard to care about this spoiled, rich woman/girl. She chose this life of ennui and excess and rather than walk away before she gets pregnant, she gets pregnant and then she self destructs. Sure, there's a back story, every character has one but not evert character is so fully without courage.

The film is visually interesting, but it relies on tired old tropes and the grotesque instead of anything even remotely intelligent and fresh.

I enjoyed the 2018 Danish film, as well as the Tom Hardy Locke film--this "phone noir" genre isn't for everyone, but when it works, it's riveting. Not so this time. Oh, it's riveting all right, but for all the wrong reasons. JG turns in his usual intense performance, and I had no problems with that. But there's something really dreadful about this interpretation of this film. From the visuals to the script, it's overdone from start to finish--likely because someone thought, and probably rightfully so, American audiences needed BIG NOISE to sit through this kind of film. So bring on the big screen filled with fires, the noise inside and outside the character's brain, lots of PROLONGED hysteria (in an active crisis situation, apparently people not only answer their phones repeatedly, they glue the phones to their heads and go on about themselves like they're in a therapist's office). The protagonist's inner turmoil and outer explosive expression of it are downright disturbing, and not in a good way. I'd have to watch the original film again, but I found that version so much more restrained, compelling, and convincing. But this version--from the theatrical display of the fires to the politicized voice overs at the end...ugh...a sledge hammer has more subtlety. I almost cancelled my subscription over this one.

One of my favorite psychological horror films if you keep your expectations in check.

The cutest, most clever, and sweetest film of its type I've seen in years. The story is fresh while playing off of old tropes. The inclusion was charming. The actors adorable. I loved it.

This film manages to be trite and disturbing at the same time. There's an art to black comedy, as we saw with In Bruges. This film is no In Bruges.