I’m not totally sure if “A Vigilante” – the feature debut from writer-director Sarah Daggar-Nickson – is meant to be soaked up as entertainment so much as a reconciliation between movies-as-art and movies-as-therapy. The small-scale story is interested in a single dominating issue, that of domestic violence, though in ways that feel inconsistently intentioned, despite the high amount of promise on display Daggar-Nickson.
Her screenplay is a contemplative, slippery ice puck of a revenge-fantasy story, slip-sliding everywhere in chronology and priority. The movie has some interesting, if questionable, points to make about an issue that many other films are frustratingly content with circling overhead of, namely: Does eye-for-an-eye have a place in the age of #MeToo? Where is the line drawn between moving on and fighting on, and – more urgently, at least in the movie’s purview – are they one-in-the-same? Continue reading →
If there’s one thing to take away from “Booksmart,” Olivia Wilde’s rambunctious and unexpectedly tender directorial debut, it’s the assurance that these high school comedies will never feel outdated. There isn’t a more appropriate canvas for filmmakers to paint loss-of-innocence stories than the final, unsure, panic-inducing hurrahs of high school, but the template feels more malleable than ever.
Leave it to John Carney and Greta Gerwig and Greg Mottola to prove as much, their respective efforts united only by their timelessness.
Like engaging in questionably legal or sexually awkward adventures for the first time with people we only thought we knew before, the act of watching a high school story is a special kind of communal movie-going experience. We’re all drawn together by the shared lack of knowledge and preparation over just what the hell we were getting ourselves into that characterized those last few days of teendom; the raw truthfulness goes hand-in-hand with the “Yep, been there” weary-but-sweet nostalgia. Continue reading →