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Breaking the Girls, film, 2013, dir. Jamie Babbit
The plot twists are written for their own sake rather than to develop any sort of interior logic, which means that as this gets twistier—especially in the last ten minutes—it tanks. But the premise is intriguing, and the atmosphere of idyllic sunny California populated by the rich and obsessive and cruel caries much of the film; it's watchable.
The One I Love, film, 2014, dir. Charlie McDowell
The premise is whimsical and unique and spins a normative couple's story into something much more lively—but as the plot unwisely grows meatier, it derails what's working well and replaces it with half-cocked, unsatisfying sci-fi. Good casting, the improv dialog is a mixed success (frequently charming, but as often mundane), more interesting than I expected, a thoughtful effort—but it fails.
Elena Undone, film, 2010, dir. Nicole Conn
I like this more than I expected. There's a freshness in the characters and their relationships, a joy and life and convincing connection; it's more of a coming of age than a seduction, empowering and suffused with agency. All the surrounding trappings are a disappointment: I could distinctly do without the smarmy soulmates theme and the ham-fisted religious bigotry, but they don't quite override what makes this film refreshing.
You Will Be Mine (Je te mangerais), film, 2009, Sophie Laloy
In theory, this is perfect; in practice, it's lacking. The relationship is extreme without being wholehearted, and the views of the women involved too piecemeal—Marie, in particular. There's a sense that she's more powerful than the narrative lets on, which has such potential and intrigue, but it goes unexplored. The atmosphere, casting, and concept are all lovely, but the execution lacks conviction; I came away disappointed.
The Babadook, film, 2014, dir. Jennifer Kent
It's not flawless: the message can get lost when it feels more like gaslighting (the police station scene, in particular); while the Babadook imagery is phenomenal, the supernatural elements have an overblown and comic vibe; the ending is almost but not quite unforgivably neat. But this is suffused with intent, from set design to metaphor; a beautiful, claustrophobic, effective film about grief—and, as much, about single parenting a difficult child. Yet I didn't love it. It's just too unpleasant to watch, the frustration and isolation too real and sympathetic, and clashing with the grandiosity of the horror.
The plot twists are written for their own sake rather than to develop any sort of interior logic, which means that as this gets twistier—especially in the last ten minutes—it tanks. But the premise is intriguing, and the atmosphere of idyllic sunny California populated by the rich and obsessive and cruel caries much of the film; it's watchable.
The One I Love, film, 2014, dir. Charlie McDowell
The premise is whimsical and unique and spins a normative couple's story into something much more lively—but as the plot unwisely grows meatier, it derails what's working well and replaces it with half-cocked, unsatisfying sci-fi. Good casting, the improv dialog is a mixed success (frequently charming, but as often mundane), more interesting than I expected, a thoughtful effort—but it fails.
Elena Undone, film, 2010, dir. Nicole Conn
I like this more than I expected. There's a freshness in the characters and their relationships, a joy and life and convincing connection; it's more of a coming of age than a seduction, empowering and suffused with agency. All the surrounding trappings are a disappointment: I could distinctly do without the smarmy soulmates theme and the ham-fisted religious bigotry, but they don't quite override what makes this film refreshing.
You Will Be Mine (Je te mangerais), film, 2009, Sophie Laloy
In theory, this is perfect; in practice, it's lacking. The relationship is extreme without being wholehearted, and the views of the women involved too piecemeal—Marie, in particular. There's a sense that she's more powerful than the narrative lets on, which has such potential and intrigue, but it goes unexplored. The atmosphere, casting, and concept are all lovely, but the execution lacks conviction; I came away disappointed.
The Babadook, film, 2014, dir. Jennifer Kent
It's not flawless: the message can get lost when it feels more like gaslighting (the police station scene, in particular); while the Babadook imagery is phenomenal, the supernatural elements have an overblown and comic vibe; the ending is almost but not quite unforgivably neat. But this is suffused with intent, from set design to metaphor; a beautiful, claustrophobic, effective film about grief—and, as much, about single parenting a difficult child. Yet I didn't love it. It's just too unpleasant to watch, the frustration and isolation too real and sympathetic, and clashing with the grandiosity of the horror.
