REVIEW: PROMISING YOUNG WOMAN (2020)

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PROMISING YOUNG WOMAN (2020)

Film finds thirty-something Cassie (Carey Mulligan) working in a coffee shop and still living with her parents (Clancy Brown and Jennifer Coolidge). Cassie was a med student seven years ago, but the date rape and resulting suicide of her best friend Nina caused her to drop out. Now the emotionally troubled Cassie plots to get back at the man responsible and those who covered for and defended him. She also goes to bars at night, pretends to be drunk and teaches a lesson to anyone who try to take advantage of her. Her nocturnal activities and the path to payback for Nina hit a bit of a snag, though, when she meets a charming and handsome pediatrician (Bo Burnham).

Powerful flick is written and directed by Emerald Fennell and is an extremely impressive feature film debut. It tackles the subjects of date rape, sexual misconduct at schools and the effects on the victims, through the vengeful Cassie, but not without an undercurrent of dark humor. Through Cassie and her confronting those involved, we learn of how Nina was taken advantage of at a party, raped and then having to watch the perpetrator Al Monroe (Chris Lowell) defended and covered for by the school administration and other students, such as classmate Madison (Alison Brie). It turned Nina into an emotional wreck who we safely assume finally took her own life. The film boldly faces down how the perpetrators of such acts become the defendants and the victims the villains, in this society of boys will be boys. It illustrates how more concern is shown for not ruining the accused’s life than for the victim’s trauma and pain. Cassie also confronts like individuals by going to bars, playing drunk and then confronting these guys as they plan to take advantage of her. The film is unflinching, yet the underlying dark humor helps keep these timely subjects from bludgeoning you. Fennell deftly keeps you attentive, receptive and sensitive to the subject matter, as it’s cleverly woven into the story and thus better received and the points better made. As we watch the tale unfold, we get what writer/director is trying to say, slyly, but not too subtly as to miss those points. Emerald Fennell takes the gloves off and through Cassie calls out the frat boy, wolf pack mentality that protects the guilty and leaves victims humiliated and ostracized. She also directs with a lethal sarcasm and a hip and colorful style, as we follow Cassie along her path to retribution that culminates in a riveting and disturbing last act at Al Monroe’s bachelor party. A film with an important message for the #metoo generation, told with a lethal wit by Fennell. A viciously witty indictment of all too common behavior and the lack of consequences for that behavior.

The cast is strong with Carey Mulligan giving a brilliant performance as the young woman who beneath her sarcastic, slacker exterior is seething with anger and rage. A woman who’s pain and frustration, at how her friend was treated, has been focused into an intelligent and borderline sinister plan for payback. Until she reaches her target, she vents her anger out on lecherous bar patrons, she lures in by playing the naive drunk girl. It is also a direct statement on the mentality of far too many men when we witness just how often her trap works. Bo Burnham is charming and funny as Cassie’s unexpected love interest, Ryan. Is his interest in her and her growing feelings for him enough to make her put aside her inner turmoil and rage? This film is worth watching to find out. Clancy Brown and Jennifer Coolidge are good as her disappointed, frustrated and somewhat clueless parents and Chris Lowell is appropriately slimy as eternal frat boy and party rapist Al Monroe. In smaller, but effective parts are Adam Brody and Christopher Mintz-Plasse as men who Cassie vents her anger at…with good reason…along with Alison Brie and Connie Britton as the student and school dean, respectively, who covered for Monroe and dismissed Nina’s accusations.

Overall, this was an intense flick with a powerful message told with a very dark and sarcastic sense of humor. A smashing directorial debut from Emerald Fennell with a powerhouse performance by lead Carey Mulligan. It takes on it’s subject of sexual abuse and how society protects the accused and vilifies the victim with gloves off and head on. It has a lethal wit and a very hip style and comes to a climax that will stay with you for some time. Bravo to Emerald Fennell on a borderline masterpiece film debut and very, very highly recommended!

-MonsterZero NJ

Rated 4 (out of 4) sexy nurse hats!

 

 

 

 

 

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REVIEW: DRIVE (2011)

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DRIVE (2011)

Drive has a delightfully 80s vibe to it. It reminds one of Michael Mann’s neon drenched crime thriller Thief, but with the out of nowhere blood-soaked violence of David Lynch. Even Cliff Martinez’s sscore evokes Tangerine Dream, who created Thief’s haunting music, among many other film scores during that era. Like that James Caan headlined flick, Drive is also based on a book and involves a man on the wrong side of the law getting into trouble when trying to do good. Despite what appears to be obvious influences, director Nicolas Winding Refn has created his own work from Hossein Amini’s screenplay based on James Sallis’ book of the same name. Drive may evoke but, it never copies. The story finds a mysterious stunt driver, who moonlights as a getaway car driver, getting into trouble with local mobsters when trying to protect his pretty neighbor from the mistakes of her ex-con husband. It is a moody atmospheric piece with sudden jolts of intense action and bone crunching violence. It also has a top notch cast.

Ryan Gosling superbly plays the man known only as Driver with equal parts mystery, menace and heart. This is a bad dude when provoked, but you have no trouble believing he truly cares for Irene and her son.The supporting cast is also excellent with Carey Mulligan as the sweet young woman who seems to fall for the bad guy every time. Albert Brooks is intense and sleazy as a Jewish mobster, who can be quite vicious when he wants to be. Rounding out the cast is the awesome Ron Perlman as Brook’s crude and temperamental partner and Bryan Cranston as Driver’s mentor, a sad man who just can’t seem to avoid getting involved with the wrong people.

Drive is definitely a film that might befuddle the average movie goer, who were weened on Michael Bay and music videos. It uses it’s sumptuously filmed visual style to create a mood and it’s characters to convey emotions. There is no unnecessary exposition to explain how character’s feel, they show it and Refn let’s us, the viewer, experience it for ourselves without explaining it to us like children. When he needs to, he hits us with action and it serves a purpose to move the story along. When he jolts us with the gruesome violence, it’s an extension of a character’s emotional state. Bad and desperate people do bad and desperate things. Our anit-hero Driver seems to have an inner rage that’s never explained and his character is all the more richer for that added mysterious dark side. Drive is something today’s average movie going audience is rarely exposed to…something called cinema! Highly recommended for those who want more then just a movie.

-MonsterZero NJ

Rated 3 (out of 4) hammers!

 

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