Deadline’s Mike Fleming Jr. had reported last summer that there was a bidding war to nab Olivia Wilde’s “Don’t Worry Darling,” a psychological thriller about a 1950s housewife whose reality begins to crack, revealing a disturbing realization that she is being suppressed. Fleming claimed to have “heard that between studios and streamers, there might be a dozen offers on the table for a movie that will happen very quickly.”
Read moreBox-Office: ‘Aladdin' Makes $100M in Just 4 Days; ‘Booksmart' Disappoints.
Yesterday, I mentioned that “Booksmart” director Olivia Wilde urged audiences to go see her film, noting that the film is “getting creamed by the big dogs out there.” Wilde’s plea didn’t have much effect, at least in terms of the film’s Sunday earnings.
Read more‘Booksmart': Olivia Wilde's Directorial Debut Aims to be the Female ‘Superbad' [Review]
A film like “Booksmart” lives and dies by its two central performances. Beannie Feldstein (Lady Bird) and Kaitlyn Dever (Short Term 12), respectively, play Molly and Amy, two upcoming high school graduates that have built up their own hermit-like worldview together. It’s not like they are anything like the central character in Bo Burnham’s “Eighth Grade” who had to fend her miserable experience all by herself, no, Molly and Amy are two peas in a pod, they are the kind of inseperable friends that complete each other’s sentences and are content with hanging out in their rooms instead of going out and socializing with the rest of their classroom. And yet, they do have a rapport with the rest of their classmates, it’s very apparent in the classroom sequences where the cliches that may have once been apparent in John Hughes and teen movies from the ‘90s completely evaporate. There is no bully, there is no jock, there is no cool kid, the stereotypes are not there and that is incredibly refreshing to witness.
Read more‘A Vigilante’ Abuse Survivor Olivia Wilde Seeks Bloody Retribution [Review]
Revenge fantasy in cinema will never go out of style, but in a more sensitive age, vigilante films without a thoughtful touch can meet their own swift and merciless end. Take Eli Roth‘s neo-conservative wet dream remake of “Death Wish,” recently savaged by audiences and critics for its soulless, unthinking vengeance. The masculine, gung-ho individualism of this genre, aggressively promoting Second Amendment rights to enact revenge, might have worked a few years prior, but today, feels tone deaf, dated and poorly-timed.
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