This is a completely enjoyable film by Sofia Coppola, led by Rashida Jones’s strong, awkward and likeable characterisation of an every woman who realises she has unknowingly transitioned from exciting and sexy to boring and frumpy in the eyes of her husband.
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I watched this film five years ago and never finished my review. Here’s what I wrote at the time compared to AI-generated text …
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Maybe I shouldn’t have been surprised/disappointed that a film with this title revolved primarily around the experiences of a group of men.
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Thanks Lowell for telling me to lower my expectations with this Gen Alpha meets ancient Japanese grudges J-horror.
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This is a Japanese horror of Ringu (1998) ilk, all about vengeful wraiths and the monstrousness of female emotions.
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Like a Miyazaki story come to life, with cuteness and soundtrack by Spielberg and a cast from a Japanese staging of The Cursed Child. But don’t let that put you off.
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On my forays to Melbourne, I don’t often re-watch a film at the cinema – so many new films, so little time – but Parasite was worth a second go, especially as Cinema Nova was screening a black-and-white version.
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I was reminded of the quiet, rural drama of Dark River (2017) while watching this intense and satisfying dive into fundamentalism. It has some predictable beats but introspective camera work and a strong performance from Alice Englert help it transcend cliches.
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It seems fitting to catch up on a film missed at MIFF 2019 whilst sequestered to watch MIFF 2020 online. It was a late night find and Jillian Bell’s starring role was a major draw.
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With conductor, Marin Alsop‘s anti-women criticism running around my head and the film’s esoteric trailer looking a tad film school, my expectations were low.
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