Ohjaus:
Emerald FennellKäsikirjoitus:
Emerald FennellKuvaus:
Benjamin KracunSävellys:
Anthony B. WillisNäyttelijät:
Carey Mulligan, Bo Burnham, Laverne Cox, Clancy Brown, Jennifer Coolidge, Christopher Mintz-Plasse, Molly Shannon, Angela Zhou, Sam Richardson (lisää)Suoratoistopalvelut (4)
Juonikuvaukset(1)
Kaikkien mielestä Cassie (Carey Mulligan) oli erittäin lupaava nuori nainen, kunnes tapahtui jotain, mikä romutti hänen tulevaisuutensa. Mikään Cassien elämässä ei ole sitä miltä näyttää. Hän on huippuälykäs, taiturimaisen ovela ja viettää öisin salaista kaksoiselämää. Eräs yllättävä kohtaaminen tarjoaa Cassielle mahdollisuuden oikaista menneisyyden vääryydet. (Finnkino)
(lisää)Videot (6)
Arvostelut (12)
Promising Young Woman is a revenge-flick product of the #metoo mindset in a pop package with a pleasing cast and more thorough characterisation of the protagonist than we are used to from thematically similar revenge-horror movies. Carey Mulligan is cute, but the mentions of “Oscar-worthy” acting are off base. Besides that, the film in no way goes beyond the creative boundaries of playful fluff, which is original only in its placement of the given theme in the A-list mainstreem. Conversely, the would-be screenwriting magic in the climax serves as confirmation of the film’s creative limits within the confines of a mere fresh teen drama. Plying the same waters, Assassination Nation was bolder and more stylish.
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One of the few #metoo films with a heroine who’s an interesting and complex character, whose actions can be viewed quite critically, but are still somehow understandable. Add to that Carey Mulligan’s impressive performance and you get something really fun to watch, even if some situations stink of screenwriting meddling. Another thing worth mentioning is the soundtrack and one of the most satisfactory endings in a long time.
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I spent most of the movie trying to wrap my head around Carey Mulligan’s character and what she was up to. Just when I thought I might get a grip on it, the film hits you with a totally bonkers ending. Honestly, I’m still not sure what to make of it. It’s definitely a wild ride, a bit detached, but Carey Mulligan is solid throughout.
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A solid crime thriller starring the brilliant and good-looking Carey Mulligan, who at 36 looks great. The protagonist is traumatized by a tragic event from the past and seeks revenge on all men who abuse women under the influence of alcohol. The concept is great and it's a bit of a shame that the film avoids violence, as in a few scenes it clearly called for it, but it seems to be aimed at academic awards, so maybe that's why. The film flows at a good pace, can be funny in certain scenes, occasionally creates a decent psycho atmosphere, and the ending is definitely unexpected, although not entirely satisfying. A decent film that captivates more with its story, actors, and atmosphere, and if it didn't shy away from brutality, it would be even better. Story****, Action>No, Humor***, Violence>No, Entertainment****, Music***, Visual****, Atmosphere****, Tension***. 7.5/10.
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It would be tempting to say that it's an uncritical critical success primarily because of the subject matter and the gender behind the script and direction, but that would be unfair to the author. The qualities in this case are due to the way the current #MeToo issue is conceived "with balls" and free of obscene declamations. I don't share the objections to the author's black-and-white "men are pigs" vision when it's the women (Madison, the dean, the ambivalent anti-heroine Cassie herself) who contribute to the overall effect/impact of "rape culture" here, after all, that's what the two acts of the revenge plan are all about. What's more, even if it did, it rides such a surgically precise black-humor wave about an achingly serious subject with a clever, deliberately overblown 80s pop neon styling that it's impossible not to fall for. Carey, then, is as engrossing as she is disturbing with her complex "PTSD performance" in the whirlwind of a self-destructive spiral of vendetta, and so perhaps only the line with Ryan grates a little too much, because it's too obvious from the start why she's there and where she's going with it. The weakest link is of course the hotly debated ending. Not the ending itself – that one is perfect –, but rather the epilogue. On the face of it, it's delivered in a way that brings satisfaction, but the further away from the screening, the more obvious it becomes that it's redundant and takes the whole thing a bit too far. It could and should have ended already in a surgery or a non-literal postal package.
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