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Bob Mann (459 KP) rated Promising Young Woman (2020) in Movies
Apr 20, 2021
Writing and directing is pitch perfect (1 more)
Carey Mulligan - awesome acting
Emerald Fennell delivers a real ‘page turner’ of a movie
"Promising Young Woman" sees Cassie (Carrie Mulligan) out to wage war on predatory men sexually asserting themselves on vulnerable woman in bars. But with the chance mention of a name, her mission takes on a whole new level and becomes very personal. How far will Carrie go to right a wrong?
Positives:
- Where to start! This is an astonishingly engrossing story from the multi-talented Emerald Fennell. It's rare to find a movie script where you have no idea in which direction the plot will take you. Some of the twists in this movie (no spoilers) are quite Hitchcockian in their execution. And Fennell cocks a wonderful snook at the 'Hollywood ending' that takes your breath away.
- Fennell also directs superbly, never letting the viewer get bored for an instant (the film doesn't outstay its welcome at only 113 minutes). The "show don't tell" approach shows respect for the audience's intelligence. (What happened after the boozy lunch? Who's voice was it on the video?) The use of 'chapter headings' as well is clever and reminiscent of Quentin Tarantino.
- And Carrie Mulligan! A simply stunning performance. What WAS that 'Variety' critic on about in saying she was "not hot enough" to play this role? Had he not fed his Guide Dog or something that day? Mulligan first drew my attention and respect when she was just 20 years old playing Ada in the BBC's "Bleak House": she had "star" written all over her. And so it has proved. Arguably - since there are so many stunning performances on her CV - this is a career best for her.
- Again reminiscent of Tarantino (and indeed "Killing Eve") is the wonderful use of music (by Anthony Willis). As well as some deliciously 'bubblegum' tracks (for example, one by Paris Hilton) there are some seriously "out there" choices. For example, "Pearl's Dream" (about the "pretty fly") is taken from the 1955 movie "The Night of the Hunter". It's haunting and evocative, reflecting the shattering revelation for Cassie within the story.
- Hair and Make-up (Angela Wells), Costume (Nancy Steiner), Cinematography (Benjamin Kracun), Editing (Frédéric Thoraval): all top-notch.
Negatives:
- For once, not a single one!
Summary Thoughts:
Sex without consent is rape. A woman, intoxicated through drink or drugs, cannot give consent. The rules aren't difficult are they? Anyone who's been to a city centre bar or nightclub late at night will have seen - or suspected they've seen - this sort of slow-motion car crash in progress.
This movie will inevitably be seen as the 'poster-child' for this aspect of the "Me Too" movement, and rightly so. And because the movie is so fabulous, it is inevitably going to have a positive effect in highlighting the issue.
Those woman who have had these experiences (and I'm sure there are a LOT of them out there, many of who will have never gone to the police) will probably not want to be further traumatised by watching the movie. But, for everyone else. If the first five minutes make you feel queasily like "this one's not for me" then it's worth sticking with it. it's all done in good taste.
One of the reasons this movie is so good is because of Emerald Fennell. What a talent she is! In acting mode, she plays Sarah Ferguson in "The Crown" and - in an uncredited cameo - the "blow job make-up" video blog lady in this. In writing mode, she's delivered the brilliant BAFTA-winning script for this as well as series two of "Killing Eve". And now in directing mode, she delivers this stunning directorial debut. She's even writing a musical version of "Cinderella" with Andrew Lloyd-Webber! (Come on love, you're just making us all feel wholly inadequate!)
"Promising Young Woman" is the easiest 10* movie I've rated in a while. And it soars straight to the top of my current long-list for my "Films of the Year 2021".
(For the full graphical review, check out the One Mann's Movies review here https://bob-the-movie-man.com/2021/04/20/promising-young-woman-emerald-fennell-delivers-a-real-page-turner-of-a-movie/. Thanks).
Positives:
- Where to start! This is an astonishingly engrossing story from the multi-talented Emerald Fennell. It's rare to find a movie script where you have no idea in which direction the plot will take you. Some of the twists in this movie (no spoilers) are quite Hitchcockian in their execution. And Fennell cocks a wonderful snook at the 'Hollywood ending' that takes your breath away.
- Fennell also directs superbly, never letting the viewer get bored for an instant (the film doesn't outstay its welcome at only 113 minutes). The "show don't tell" approach shows respect for the audience's intelligence. (What happened after the boozy lunch? Who's voice was it on the video?) The use of 'chapter headings' as well is clever and reminiscent of Quentin Tarantino.
- And Carrie Mulligan! A simply stunning performance. What WAS that 'Variety' critic on about in saying she was "not hot enough" to play this role? Had he not fed his Guide Dog or something that day? Mulligan first drew my attention and respect when she was just 20 years old playing Ada in the BBC's "Bleak House": she had "star" written all over her. And so it has proved. Arguably - since there are so many stunning performances on her CV - this is a career best for her.
- Again reminiscent of Tarantino (and indeed "Killing Eve") is the wonderful use of music (by Anthony Willis). As well as some deliciously 'bubblegum' tracks (for example, one by Paris Hilton) there are some seriously "out there" choices. For example, "Pearl's Dream" (about the "pretty fly") is taken from the 1955 movie "The Night of the Hunter". It's haunting and evocative, reflecting the shattering revelation for Cassie within the story.
- Hair and Make-up (Angela Wells), Costume (Nancy Steiner), Cinematography (Benjamin Kracun), Editing (Frédéric Thoraval): all top-notch.
Negatives:
- For once, not a single one!
Summary Thoughts:
Sex without consent is rape. A woman, intoxicated through drink or drugs, cannot give consent. The rules aren't difficult are they? Anyone who's been to a city centre bar or nightclub late at night will have seen - or suspected they've seen - this sort of slow-motion car crash in progress.
This movie will inevitably be seen as the 'poster-child' for this aspect of the "Me Too" movement, and rightly so. And because the movie is so fabulous, it is inevitably going to have a positive effect in highlighting the issue.
Those woman who have had these experiences (and I'm sure there are a LOT of them out there, many of who will have never gone to the police) will probably not want to be further traumatised by watching the movie. But, for everyone else. If the first five minutes make you feel queasily like "this one's not for me" then it's worth sticking with it. it's all done in good taste.
One of the reasons this movie is so good is because of Emerald Fennell. What a talent she is! In acting mode, she plays Sarah Ferguson in "The Crown" and - in an uncredited cameo - the "blow job make-up" video blog lady in this. In writing mode, she's delivered the brilliant BAFTA-winning script for this as well as series two of "Killing Eve". And now in directing mode, she delivers this stunning directorial debut. She's even writing a musical version of "Cinderella" with Andrew Lloyd-Webber! (Come on love, you're just making us all feel wholly inadequate!)
"Promising Young Woman" is the easiest 10* movie I've rated in a while. And it soars straight to the top of my current long-list for my "Films of the Year 2021".
(For the full graphical review, check out the One Mann's Movies review here https://bob-the-movie-man.com/2021/04/20/promising-young-woman-emerald-fennell-delivers-a-real-page-turner-of-a-movie/. Thanks).
Bob Mann (459 KP) rated Bad Times at the El Royale (2018) in Movies
Sep 28, 2021
Why is everyone not raving about this movie?
Imagine a ménage à trois of Agatha Christie, Alfred Hitchcock and Quentin Tarantino at the Overlook Hotel with a banging 60’s soundtrack. Got that unpleasant vision in your mind? Good! You’re halfway there to getting the feel of “Bad Times at the El Royale”. And they really are bad times!
The Plot
It’s 1969 and an oddball set of characters arrive at the faded glory of the El Royale hotel at Lake Tahoe: “a bi-state establishment” straddling the Nevada/California border: so describes the manager-cum-bellhop-cum-bartender-cum-cleaner Miles Miller (Lewis Pullman, soon to appear as Maverick in the “Top Gun” sequel). The motley crew include Laramie Seymour Sullivan, a vacuum cleaner salesman (Jon Hamm); Father Daniel Flynn, an oddly-acting priest (Jeff Bridges); Darlene Sweet, a struggling Motown-style singer (Cynthia Erivo); and Emily Summerspring, a rude and abrupt hippy-chick with attitude (Dakota Johnson). But noone is quite who they seem and their twisted and convoluted lives combine in a memorable night of surprise and violence at the El Royale.
The turns
I’ve often expressed my admiration for the Screen Actor’s Guild Awards and their category of “Best Ensemble Cast”: at a time when there are controversial suggestions of additions to the Oscars, this is one I would like to see (along with a “Best Stunt Team” award that I’ve previously lobbied for). And here is my second serious candidate for the “Best Ensemble Cast” Oscar in 2018, my first being “Three Billboards in Ebbing, Missouri” (which in their books would count as 2017 anyway!) Everyone really works hard on this film and the larger than life characters suck you into the story because of the quality and intensity of their performances.
Out in front of the pack are the simply brilliant Jeff Bridges and Cynthia Erivo, an actress new to me who has a great voice and made a big impression. Scenes between the pair are just electric. Jon Hamm is as quirkily great as ever and Dakota “not Fanning” Johnson is far better in this film than any recent stuff I’ve seen her in. Another standout was another newcomer to me – young Cailee Spaeny as Rose, looking for all the world in some scenes like a young Carey Mulligan. While we’re on lookalikes, Lewis Pullman (best known to me for “Battle of the Sexes“) looks very like Tom Holland in some scenes.
The Review
I found this film to be just enormously entertaining. It is very Tarantino-esque in its claustrophobic nature (compare it with “The Hateful 8” in that respect) and with its quirky episodic flash cards (compare with “Pulp Fiction” or “Kill Bill”) but for me was much more appetising since – although very violent – it never stooped to the queasy “blow your face off” excesses of Tarantino, that I personally find distasteful. Where it apes Hitchcock is in its intricate plotting: the story regularly throws you off-balance with some genuinely surprising twists and turns that you never see coming. And the interesting time-splicing and flashbacks also keep you on your mental toes. To say any more or to give any examples would be a spoilerish crime, so I will refrain. This is a dish best served cold (so avoid the trailer if you can).
The film has a marvellous sense of place and time and key to establishing that is some superb set design; some brilliant costumes; and – most of all – an exquisitely chosen song catalogue. The great Michael Giacchino is behind the music, and he does a truly fabulous job, not just with the song selection but also with the background music. This never seems to intrude noticeably until the end titles, when you realise it’s been insistently working on you all the time: the best sort of soundtrack.
There are some films that make you marvel how someone sat at a keyboard and got a screenplay down on paper so satisfyingly. While it could be accused of aping Tarantino somewhat, for me this is still one such film. The writer/director Drew Goddard has come from the J.J. Abrams stable of “Alias” and “Lost”, and has previously written the great screenplays for films including “Cloverfield”, “The Martian” and “World War Z“. His only previous directorial feature was “The Cabin in the Woods” (which I’ve not seen), but after this he is definitely on my movie radar: his next film will be “X-force”: a “Deadpool 2” follow-on with Ryan Reynolds, Josh Brolin and Zazie Beetz, and I can’t wait to see that.
If there’s a criticism it’s that at 141 minutes its a tad long. It never to me felt like a film that long, such was the entertainment value, but while I just loved the development of character just a few of the scenes felt a little leisurely and superfluous. Trim 10 minutes off the running time – no more – and it might have felt tighter still.
I didn’t mention one star name in “The Turns” section, and that’s Chris Hemsworth. He actually does a great job in his demanding Messianic role of Billy Lee, but I just had trouble equating the “Thor” star as being “all kinds of bad”: this felt like a slight misstep in the casting to me.
Summary
This film is without a doubt going to storm into my Top 10 for the year. It’s an entertaining delight, full of twists, turns, deliciously wordy dialogue and a satisfyingly open ending. I can’t believe this film hasn’t been top billing in multiplexes up and down the country for WEEKS on end. If you get the chance, my advice would be to seek this out before it disappears.
The Plot
It’s 1969 and an oddball set of characters arrive at the faded glory of the El Royale hotel at Lake Tahoe: “a bi-state establishment” straddling the Nevada/California border: so describes the manager-cum-bellhop-cum-bartender-cum-cleaner Miles Miller (Lewis Pullman, soon to appear as Maverick in the “Top Gun” sequel). The motley crew include Laramie Seymour Sullivan, a vacuum cleaner salesman (Jon Hamm); Father Daniel Flynn, an oddly-acting priest (Jeff Bridges); Darlene Sweet, a struggling Motown-style singer (Cynthia Erivo); and Emily Summerspring, a rude and abrupt hippy-chick with attitude (Dakota Johnson). But noone is quite who they seem and their twisted and convoluted lives combine in a memorable night of surprise and violence at the El Royale.
The turns
I’ve often expressed my admiration for the Screen Actor’s Guild Awards and their category of “Best Ensemble Cast”: at a time when there are controversial suggestions of additions to the Oscars, this is one I would like to see (along with a “Best Stunt Team” award that I’ve previously lobbied for). And here is my second serious candidate for the “Best Ensemble Cast” Oscar in 2018, my first being “Three Billboards in Ebbing, Missouri” (which in their books would count as 2017 anyway!) Everyone really works hard on this film and the larger than life characters suck you into the story because of the quality and intensity of their performances.
Out in front of the pack are the simply brilliant Jeff Bridges and Cynthia Erivo, an actress new to me who has a great voice and made a big impression. Scenes between the pair are just electric. Jon Hamm is as quirkily great as ever and Dakota “not Fanning” Johnson is far better in this film than any recent stuff I’ve seen her in. Another standout was another newcomer to me – young Cailee Spaeny as Rose, looking for all the world in some scenes like a young Carey Mulligan. While we’re on lookalikes, Lewis Pullman (best known to me for “Battle of the Sexes“) looks very like Tom Holland in some scenes.
The Review
I found this film to be just enormously entertaining. It is very Tarantino-esque in its claustrophobic nature (compare it with “The Hateful 8” in that respect) and with its quirky episodic flash cards (compare with “Pulp Fiction” or “Kill Bill”) but for me was much more appetising since – although very violent – it never stooped to the queasy “blow your face off” excesses of Tarantino, that I personally find distasteful. Where it apes Hitchcock is in its intricate plotting: the story regularly throws you off-balance with some genuinely surprising twists and turns that you never see coming. And the interesting time-splicing and flashbacks also keep you on your mental toes. To say any more or to give any examples would be a spoilerish crime, so I will refrain. This is a dish best served cold (so avoid the trailer if you can).
The film has a marvellous sense of place and time and key to establishing that is some superb set design; some brilliant costumes; and – most of all – an exquisitely chosen song catalogue. The great Michael Giacchino is behind the music, and he does a truly fabulous job, not just with the song selection but also with the background music. This never seems to intrude noticeably until the end titles, when you realise it’s been insistently working on you all the time: the best sort of soundtrack.
There are some films that make you marvel how someone sat at a keyboard and got a screenplay down on paper so satisfyingly. While it could be accused of aping Tarantino somewhat, for me this is still one such film. The writer/director Drew Goddard has come from the J.J. Abrams stable of “Alias” and “Lost”, and has previously written the great screenplays for films including “Cloverfield”, “The Martian” and “World War Z“. His only previous directorial feature was “The Cabin in the Woods” (which I’ve not seen), but after this he is definitely on my movie radar: his next film will be “X-force”: a “Deadpool 2” follow-on with Ryan Reynolds, Josh Brolin and Zazie Beetz, and I can’t wait to see that.
If there’s a criticism it’s that at 141 minutes its a tad long. It never to me felt like a film that long, such was the entertainment value, but while I just loved the development of character just a few of the scenes felt a little leisurely and superfluous. Trim 10 minutes off the running time – no more – and it might have felt tighter still.
I didn’t mention one star name in “The Turns” section, and that’s Chris Hemsworth. He actually does a great job in his demanding Messianic role of Billy Lee, but I just had trouble equating the “Thor” star as being “all kinds of bad”: this felt like a slight misstep in the casting to me.
Summary
This film is without a doubt going to storm into my Top 10 for the year. It’s an entertaining delight, full of twists, turns, deliciously wordy dialogue and a satisfyingly open ending. I can’t believe this film hasn’t been top billing in multiplexes up and down the country for WEEKS on end. If you get the chance, my advice would be to seek this out before it disappears.