Yes No Maybe So: "Promising Young Woman"

by Lynn Lee

Could this be Carey Mulligan’s year?  When the first trailer for Promising Young Woman hit theaters last December, this viewer, at least, immediately sat up and took notice.  Mulligan plays emphatically against type as a modern-day nemesis aptly named Cassandra, self-packaged as a poisoned bonbon of sexual pliability, and spurred to vengeance by an unpunished rape that caused her to drop out of medical school.  Reviews at Sundance affirmed the power of Mulligan’s performance, and the movie seemed poised to remind the world that she’s still a formidable actress who deserves way more attention than she’s received since her breakout Oscar-nominated turn in An Education. 

Then the pandemic happened, and PYW’s release—originally set for April— was indefinitely pushed back.  Now it’s rescheduled for Christmas Day, and the movie poster and a second trailer have dropped.  Will it be enough to get Mulligan in the 2020 awards conversation?  Let’s break the trailer down, YNMS style...

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10th Anniversary: “An Education”

By Cláudio Alves

An Education tells the story of Jenny Mellor, an English schoolgirl who, in 1961, falls into the trap of an older man’s affections. In the process, she almost squanders away her dreams of Oxford, thinking she’s trading a hopelessly boring life for one of excitement. After all, if the years slaving over books are the best of one’s life, why bother? 

One of the loveliest aspects of the film is how it refuses to offer easy answers to its dilemmas. Throughout, we see many women who chose different paths and, thanks to director Lone Scherfig and screenwriter Nick Hornby, all of them are humanized and sympathetic. There are no villains in An Education, no one is wrong or completely right. These are people and not mere plot points or narrative mechanisms. We can imagine all of them living their lives, being the protagonists of their stories.

It’s not surprising that An Education has lived on as an actors’ showcase above all else. Many of its performers would go on to greater fame, though the star has arguably not yet reached these heights again...

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Months of Meryl: Before and After (1996)

John and Matthew are watching every single live-action film starring Meryl Streep. 

 

 #23 —Dr. Carolyn Ryan, a suburban pediatrician attempting to keep her family together after her son becomes a prime suspect in his girlfriend’s murder.

MATTHEW: In a 2000 Entertainment Weekly profile that took stock of her screen efforts to-date, Meryl Streep amusingly and very appropriately described Before and After, Barbet Schroeder’s 1996 small-town crime drama, as “an airless thing.” Truer words, etc.

Before and After is one of those forgettable Streep misfires that appear with a bit more frequency in the latter half of her vaunted career. The tell-tale signs are all here: an appealing but hardly virtuosic director seemingly working on autopilot, bestselling literary source material that maybe didn’t cry out for cinematic treatment after all, and a Northeastern setting in close enough proximity to her Connecticut domicile...

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Feud: Bette and Joan "Hagsploitation"

Previously on Feud: Bette and Joan 
1. "Pilot" 2. "The Other Woman" 3. "Mommie Dearest" 4. "More or Less" 5. "And the Winner Is" (Part 1) (Part 2)

By Spencer Coile  

Although initially centered on the drama that took place during the filming of What Ever Happened to Baby Jane?, Feud persists. As we enter into episode six, "Hagsploitation," both Bette and Joan have no bona fide hits on the horizon. Sure, Joan is tackling Strait Jacket and Bette has her hands full on TV (much to Joan's judgement) on Wagon Train, but in 1964, the success of Baby Jane has waned. In fact, in a scene that features vase throwing and Mamacita standing her ground, Joan laments that it had been nine months since any offer came her way. Clearly, as the title suggests, there is something more pervasive and sinister that happens in Hollywood, far more dastardly than the actual feud that persists between Bette and Joan: the exploitation of older actresses for the benefit of their audience... 

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Tim's Toons: Kahlil Gibran's The Prophet

Tim here. To the right kind of viewer (e.g. the kind writing this review), Kahlil Gibran's The Prophet is THE animated event of 2015. Which does not, unfortunately, turn out to mean that it is THE best animated film of 2015, or even in the running for that title. But let us not accentuate the negative; it's still a special and enormously idiosyncratic little movie, and its failures are honorable.

The film is a long-simmering passion project for producer Salma Hayek, one of the many ardent fans to accrue to Gibran's 1923 English-language collection of essays (Gibran was Lebanese, as was Hayek's grandfather). When, exactly, she decided that the adaptation needed to be done in animation is anyone's guess, but it was exactly the right choice: the book consists primarily of a series of spiritual lessons in the form of prose poetry, with the ghost of a narrative connecting them. The film by necessity fleshes out that narrative considerably and literalizes it, but the meat of the film is still those essays: eight out of Gibran's original 26, each handed off to a different luminary in the world of international animation.

Those eight sequences are easily the best reason to see The Prophet.

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