PROMISING YOUNG WOMAN (2020)

December 23, 2020

 Greetings again from the darkness. “Revenge is a dish best served cold.” The protagonist in writer-director Emerald Fennell’s (“Killing Eve”) feature film debut is a woman on a mission to avenge not just what happened to her friend, but also change the mentality of predatory men … one “nice guy” at a time. She is a #MeToo heat-seeking missile.

Carey Mulligan stars as Cassie, and when we first see her, she appears to be nearing blackout mode while drinking alone on a bench inside a bar. Most people have hobbies like crochet or golf. Cassie’s hobby, or maybe mission is a better word, is to lure men, with the appearance of a drunken easy score, and then scare them straight into respecting boundaries. She’s a non-violent vigilante (as opposed to Beatrix Kiddo) for morality and respect towards women.

As the film progresses, we pick up bits about what traumatized her to this extent. It turns out her best friend Nina was victimized by a group of men from their law school class. See, Cassie is the titular ‘promising young woman’ whose career dreams were dashed over what happened to her friend. Now, Cassie works in a coffee shop with a supportive and wise-cracking friend Gail (Laverne Cox, “Orange is the New Black”), who knows nothing of Cassie’s hobby … and neither do Cassie’s parents (Jennifer Coolidge, Clancy Brown) who can’t help but wonder what happened to their bright, ambitious daughter, and why she still lives at home with them.

Cassie’s mission gets momentarily de-railed when former classmate Ryan (an excellent Bo Burnham, THE BIG SICK) pops in to the coffee shop and awkwardly proclaims his long-time distant crush on her. The two are clumsy and believable together, and their relationship has more ups and downs than a pogo stick. For most movies, this would be enough to hold our attention, but not for ambitious filmmaker Fennell who has much more to offer. There is a cleverness to the presentation with four specific segments: a friend who didn’t believe her (Alison Brie), the law school dean who didn’t want to ruin a boy’s future (Connie Britton), a regretful defense attorney who took the money (Alfred Molina), and a bachelor party that gathers those who make up her nightmare.

Ms. Fennell is also an actor (and has a cameo in this one), and it’s clear she has a real feel for putting actors in the best position to maximize a scene. Of course, Ms. Mulligan is an outstanding actor on her own, but the actors benefit from Ms. Fennell’s work. Other supporting work is provided by Adam Brody, Christopher Mintz-Plasse, Molly Shannon, Max Greenfield, Chris Lowell, and Sam Richardson. The color palette is similar to an early Tim Burton movie, and in fact, Cassie’s home looks like a museum or possibly a middle-class Liberace setting.

There is a lot going on here, and some of it is quite uncomfortable – and sprinkled with dark humor in unexpected moments. Advice like “move on” and excuses like “we were kids” ring hollow to Cassie, who carries some guilt over what happened to Nina, and remains focused on attacking a system that enables inexcusable behavior. Ms. Mulligan embraces a character who possesses raw nerves and emotions she sometimes hides, while other times flashes in neon. This isn’t about a guy here or there who takes advantage, but rather a faulty system that protects these guys at the expense of victims. The ending is unusual and unexpected, and kudos to an exciting new filmmaker.

In theaters December 25, 2020

watch the trailer


VITA & VIRGINIA (2019)

August 22, 2019

 Greetings again from the darkness. The historical landscape of relationships is littered with the remains of artist couples who began with a cosmic connection and ended with a sonic boom. Add in the socially toxic matter of same-sex attraction from a century ago, and you have a starting point for the romance-friendship-inspiration between writers Vita Sackville-West and Virginia Woolf. Director Chanya Button co-wrote the script with Eileen Atkins, and it’s adapted from Ms. Atkins play and the personal letters of Virginia and Vita … correspondence that covered many years and hundreds of letters.

Gemma Arterton (TAMARA DREWE, 2010 and QUANTUM OF SOLACE, 2008) stars as writer Vita Sackville-West, a successful poet, novelist, and columnist. Vita was also known for her free spirited ways, and sometimes scandalous behavior. Virginia Woolf is played by Elizabeth Debicki (“The Night Manager”, THE GREAT GATSBY), and she does really nice work capturing the troubled genius, and the glimmers of hope during her time with Vita. The two women were so very different in their approach to life and writing, although each faced their own challenges.

We see their first meeting, and the immediate enchantment that occurs as their eyes meet across the room. However, what makes their relationship interesting is the long and winding path to consummation. The interesting parts come as Vita toys with the fragile Virginia, though it’s clear their connection is quite strong. Though the connection was strong, the relationship was quite complex. Vita was a fan of Virginia’s talent. Virginia was an admirer of Vita’s strength and confidence. They seemed to push each other – sometimes for the better, other times for the worse.

The film opens as Ms. Woolf’s book “Jacob’s Room” is being typeset and printed. It’s quite an artistic way to show the mechanics of the process, and credit goes to Cinematographer Carlos De Carvalho for a segment that would typically be little more than filler. We learn about Vita’s secretly “open” marriage to diplomat Harold Nicholson (Rupert Penry-Jones) and her constant battle with her mother Lady Sackville (Isabella Rossellini) over scandals and the family reputation. Virginia’s husband Leonard (Peter Ferdinando) runs their printing business, and is seen as vital to his wife’s emotional stability, despite the void in other marital aspects. Virginia’s artist sister Vanessa Bell (Emerald Fennell) is quite an interesting character whose backstory (also a part of the Bloomsbury Group) is teased enough that she might deserve her own film.

The film features a couple of memorable lines of dialogue, both spoken by Vita. During a BBC radio program she boldly claims “Independence has no sex”, and in an early discussion with Virginia states “Popularity is no sign of genius”. Vita’s brazen step traveling as a man with her previous lover Violet Keppel is mentioned, but mostly this is focused on the class differences and the ‘snatched moments’ for Vita and Virginia. Vita’s exotic spirit and Virginia’s struggle with mental health are made clear (even using special effects for the latter). “Visions” of conversations bring the words on the letter pages to life, though it does seem that the filmmakers played things a bit too safe in order to capture a mainstream audience. The music of Isobel Waller-Bridge (Phoebe’s sister) brings a contemporary feel but it’s at times in contrast to the high gloss presentation. For the women who wrote and inspired the amazing novel “Orlando”, and led one of the more tumultuous historical lesbian affairs, it could be argued that they deserved a bit more risk taking on the big screen. Still, “X” marks the spot for Virginia’s writing room, and we do understand why discretion might be the right call.

watch the trailer: