A war on a woman to reclaim the streets, bars and nightclubs from shady bastards

Once a high performing medical student, Cassie (Carey Mulligan) was considered a Promising young woman (18) until a mysterious event derails his life. Working as a waitress, Cassie now offers a different kind of promise, luring predatory men into her web before terrorizing them to see the error of their ways. Next, Cassie reunites with her old college friend Ryan (Bo Burnham), who appears to be the rarest beast – “a nice guy.” Is Cassie about to take charge of her life?

Written and Directed by Emerald Fennell (Nurse Patsy Mount in Call the midwife and Camilla Parker Bowles in The crown), Promising young woman is a potent mix of personal and politics: As Cassie wages her war on a woman to reclaim the streets, bars and nightclubs from the shady trash preying on vulnerable women, her story becomes a story, in which the female of the species is really more lethal than the male.

That the film is both timely and important is a no-brainer, but Emerald Fennell doesn’t just confuse male privilege, delivering a masterclass in tension and palpable danger as Cassie wades ever further into the deepest depths. darker revenge thriller. Indeed, one of the nicer things about the movie is that you don’t know what Cassie might do next, or how far she will push her revenge, and Carey Mulligan is just stunning in the delightfully understated lead role. (and exhibiting fabulous comedic timing) like a Latter-day Medea who believes in some primal but entirely appropriate form of justice.

A strong supporting cast includes Alison Brie and Laverne Cox, but the real stars here are Carey Mulligan and Emerald Fennell, the latter showing fierce talent in her feature debut as a writer-director. (Sky / Now TV)

Love and Monsters (****)

Ariana Greenblatt and her canine friend in Love and Monsters. Photo: Jasin Boland.

Set in the aftermath of a global radioactive fallout that transformed tiny creatures into dinosaur-sized cockroaches, ants, spiders and toads, Love and monsters (12A) stars Dylan O’Brien as Joel, a chef who has spent the past seven years locked in an underground bunker with a small colony of survivors.

When Joel learns that his teenage girlfriend, Aimee (Jessica Henwick), lives in a settlement 85 miles away, he decides to embark on the potentially deadly trek – what’s the point of surviving, after all, without love? Armed only with a crossbow, a real pea shooter given the monsters he is likely to encounter, Joel sets out to find Aimee.

Written by Matthew Robinson and Brian Duffield, under the direction of Michael Matthews, Love and monsters is a refreshing and upbeat take on the traditionally dark post-apocalypse tale. Joel encounters many dangers on his journey, of course – there are nuances from The Lost World and Jurassic Park movies to his near-death escapes from weird and wonderful beasts – but he also makes new friends, including a dog. called Boy, the unlikely duo of Clyde (Michael Rooker) and his carrier daughter Minnow (Ariana Greenblatt), and a dying robot called Mavis (voiced by Melanie Zanetti).

Dylan O’Brien is a very friendly company on the trip, with self-deprecating Joel well aware of his many limitations, which include the annoying habit of physically freezing in times of stress. Filled with thrills and excesses, and a crowd of increasingly inventive monsters, Love and Monsters is a charming old-fashioned thread in the tradition of Saturday mornings, and one that subtly informs us that there is much more in life than hiding from danger. (Netflix)

In the labyrinth (***)

In the labyrinth: "gripping throughout"
Into the Labyrinth: “grab it everywhere”

In the labyrinth (15A) begins with Samantha (Valentina Bellé) waking up in the hospital to be greeted by psychologist Dr Green (Dustin Hoffman), who informs her that she is finally safe. It turns out that Samantha was kidnapped when she was 13; fifteen years later, she managed to escape the “labyrinth” which she vaguely remembers.

It’s Dr. Green’s job to find out who kidnapped Samantha and where she was held, an investigation that quickly becomes complicated when Samantha insists her investigation “is a game.” Meanwhile, dying debt collector Genko (Toni Servillo), who investigates Samantha’s reappearance as a sort of redemptive penance for her wasted life, begins to realize that Samantha’s kidnapper is some kind of demonic bunny who bears the nickname “Rabbit”.

Adapted by Donato Carrisi from his own novel, edited by Carrisi himself, In the labyrinth is a feverish mix of psychological thriller, dark private investigator and dark fairy tale. The mix is ​​not always successful, although the main actors, and in particular the grizzled and smoldering Toni Servillo in the chain, are convincing on their own; As the loosely linked strands of the plot are woven together, the film takes on the hallucinatory quality of a feverish dream, in which any sort of madness can arise, and it frequently does.

That said, it remains captivating throughout and somehow manages to deliver a finale that makes the chaos meaningful. (digital version)

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