A lonely man works as a model for students studying fine arts. He meets his love in the person of a young student at the end of his life.
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These confines won’t really encourage you to read the film as a metaphor for the nerve-inducing experience we’ve all been through over the last year, however — and in the interest of maintaining your dignity, you probably shouldn’t. While the sociopolitical commentary may have worked for the similarly-themed Buried (2010), in which we find Ryan Reynolds on his own buried alive in the Middle East, but this futuristic take on the premise is best left as a piece of distracting entertainment. Nevertheless, the atmosphere is no less suffocating, literally and dramatically.
I write for a diversity-focused film review blog, so I’ll be honest: I really wanted to like Pretty Lethal. Starring Maddie Ziegler, Lana Condor, Iris Apatow, Avantika, and Millicent Simmonds, Amazon Prime’s new thriller seemed like it would be a girl power movie about dancers with a horror action twist. Sort of a Suspiria for teens. But with shallow and unlikeable characters, a confusing plot, an overreliance on violence, and cringey dialogue, any fun the movie started out with was quickly lost. What was left was a faint echo of greater horror movies about dancers made before.
Mark Anthony Green was unable to connect all of the pieces in his debut feature film, leaving Opus as a middling entry in an already oversaturated genre.
This surprisingly clever romantic comedy perfectly balances genuine heart with wild reality television chaos. It is an uplifting and funny reminder that second chances and real community can show up exactly when you stop looking for them.
With the theme of unemployment, it presents a family fantasy anecdote rather the a comment on social problems.
