| Focus Features | Release Date: December 25, 2020 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
38
Mixed:
10
Negative:
0
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Critic Reviews
Apart from the excellence of this film, Fennell may have tapped into something tonally that truly expresses the moment we’re in. Point being, we’re in a time of horrible ridiculousness, and ridiculous horribleness. The revelation of Promising Young Woman is that its heightened reality feels more real — closer to actual reality — than comedy or drama.
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The film’s use of neon candy pinks, its star’s striking choice of nail polish, the soundtrack, the casting, the drama imbued in every shot, no matter whether it’s an extreme close-up of just-smacked bubblegum or a wide shot of a bleak overpass, or our electrifying heroine (played by Carey Mulligan) — it all works in unison to deliver a mesmerizing film wrapped around Fennell’s savage idea.
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The tone shifts radically from one moment to the next, and humor is a regular companion to mayhem, pain, even violence. That brings us to the wild and harrowing ending. It’s an ending that may not be expected — well, it’s definitely not expected — but Fennell has said it was the truest way to end a real story of female revenge, not a comic-book version.
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PolygonDec 17, 2020
As satire, Woman‘s first two acts are fun but broad: a winky, wildly stylized slice of girl-powered revenge porn. And Mulligan, who’s always given smart, delicately shaded performances in movies like Far from the Madding Crowd and An Education (she was great in 2018’s underseen Wildlife) is an entirely different animal here: furious, damaged, ferociously funny.
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Fennell is a fearsome sensibility and a talent to watch out for, and the arguments you may have after the lights come up will be well worth having. But it’s the sadness behind Cassie’s practiced smile, the wildfire fury behind that sadness, and the reasons for that fury, that may haunt you when the arguments are over.
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Is it a dark comedy with thriller overtones? Is it a serious message movie presented tongue-in-cheek? Is it an exploitative revenge film that uses a flippant style to undercut the darkness? In actuality, it’s a little of all of these and, although there are times when the movie’s approach seems scattershot and some of the tonal shifts can be jarring, the production as a whole feels rambunctious – a perfect concoction for the #meToo era.
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Promising Young Woman fancies itself edgy, and relishes complicating the catharsis of something like the scene where Cassandra smashes some douchebag’s windshield with a tire iron after he yells at her on the road. But while the craft of the film is top-notch, and the writing razor-sharp, its nihilistic point of view isn’t as unprecedented as Fennell seems to think it is.
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The grimly multitasking finale of Promising Young Woman feels both audacious and uncertain of itself, as Fennell tries to meld a cackle of delight and a blast of fury, with a lingering residue of anguish. It doesn’t all come together, though there’s an undeniable thrill in seeing it come apart.
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Mulligan’s raw portrayal of a woman trapped by invisible walls is certainly powerful — she keeps the film afloat even when it falters — and the way Fennell gives human form to those walls imbues the film with a simmering rage. However, these handful of strengths are hardly enough to render its other failings moot.
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Movie NationDec 22, 2020
The movie is a bit of a female empowerment muddle, with promising young actress-turned writer-director Emerald Fennell rearing back as if to deliver a knock-out blow, and only grazing what she’s swinging at, often as not...But she makes Promising Young Woman so consistently dark and foreboding that we never let our guard down, never get our hopes up and brace for the next moment that comes when “it’s time to pay the piper.”
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The Observer (UK)Apr 20, 2021
Tonally, with its extravagantly arched eyebrow and lacquered manicure of irony, this film feels oddly dated – a couple of decades out of step with current sensibilities. Were it not for Carey Mulligan’s Cassandra, an avenging angel in bubblegum-pink lip gloss, the picture may well have toppled off its stripper heels long before it got to stomp into its divisive shocker of a final act.
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Thanks to Mulligan’s electric performance and Fennell’s packed script, the movie never feels as if it lags, but it doesn’t go far enough to smooth over the choppy changes between the film’s witty moments and its stomach-churning dramatic scenes. However, there’s still a lot of promise in Fennell’s film, both in its message, its rape-revenge-influenced riff, and the boundaries it wants to push.
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It’s the thought put into the writing that leads Promising Young Woman astray: The movie knows what it’s about, but waffles over how to be about it. The ferocity Mulligan funnels into her performance hints at the story that could’ve been—merciless, cool and vividly stylized. But her ruthlessness, her “no fucks to give” demeanor, isn’t matched by the picture surrounding her. She realizes her promise as Fennell struggles with her own.
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The narrative is telegraphic rather than dramatic, with story points ticked off like bullet points, and the actors (excluding Ms. Mulligan, once again) act mainly for the camera, as if they aren’t sure their leaden emphasis is weighty enough. The intended tone is darkly comic, but the supporting cast isn’t sufficiently skillful to sustain it.
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