Maxine Strickland is an up-and-coming sexy film star who is being pursued by a half-crazed fan. When she hires a bodyguard to deal with the problem, she awkwardly learns to put her trust in him quickly because whoever is stalking her is close at hand.
The French-born director Laure de Clermont-Tonnerre’s strategic choice to entrust the interpretation of a conventional, feminine character to a non-binary actor pays off: Corrin’s Lady Chatterley is awkward, edgy, and uninhibited at the same time.
Essentially 'Get Out' but for white women, 'Don't Worry Darling' has strong material with its twist reveal, but the writing and directing falter trying to execute it.
I Love You Forever, marketed as a “subversive” romantic comedy is in fact a painful horror film about a young woman deep in the throes of an abusive relationship.
Shudder’s Host (not a particularly original title, I must say) attempts to bring the spooks to “the quarantine generation” by presenting us with a scary Zoom call during lockdown.
Between its problematic nature, its lack of originality, and the senselessness of its violence, Onslaught cannot be recommended in good faith.
Remakes. Reboots. Reinventions. Redundancy. It's the common practice in Hollywood of late, sometimes offering us victorious reimagining of what can be considered cinematic classics while also, more often, falling flat on their UN-imaginative faces in utter defeat and lackluster results. Admittedly, with this in mind, I went into the newest incarnation of "The War of the Roses" with typical trepidation and cautious optimism.
