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She's also a bit of a geek at school, annoyingly involved in everything and not shy about her widespread interests. Her Chinese-Canadian family lives in Toronto and she helps her mother Ming (Sandra Oh) run a sacred temple for their ancestors their family has a mystical connection with red pandas. Added to Meilin's (Rosalie Chiang) journey are elements, yes, of age and gender, but also of class and race. Fiercely intelligent, it concerns the coming of age of a girl in a world she is still learning to navigate. Turning Red features a breakneck screenplay that has a lot going for it. But thankfully this is a feature film, not a miniseries, and we need to maintain the value of not drawing things out needlessly.ĭisney's last few movies haven't quite done much for me, and the latest - in conjunction with Pixar - pretty much follows suit. Especially near the end things get really dark really quickly, and I wanted more of that. I wanted a bit more dialogue to flesh out some more heady concerns of the screenplay, such as the ways in which most characters attempt to commodify and use each other for selfish purposes. Utterly earnest as it is, it brilliantly plays everything deadly serious, keeping the psychosexual tension humming like in Gone Girl or others (I thought of the Fincher film because Affleck is playing a similar character, with a few notable changes).
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The performances are all great, and the writing gives them some juicy stuff to gnaw through, though it stops short of the kind of spectacle you might expect.
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You have to know the subgenre to appreciate a movie like this, and if you do, there is a lot here to admire. It's then that the plot really gets going. A nosy acquaintance at the party (played by Tracy Letts), who writes for a living, takes a keen interest in their dynamic and the murderous potentiality of Vic's behavior, starts poking around after Melinda's accusations find purchase in his mind. She seems to know what he's capable of, to the point that when yet another of her lovers ends up dead - at a party they are still present for - she is utterly convinced Vic did it. De Armas and Affleck together have an unlikely chemistry, and Lyne films them in stunning clarity, emphasizing their physical connection in counterpoint to their mental games. She's unexpectedly amazing in this role, and she seems to be having a lot of fun with it. He could be killing off her partners, and that's what matters for their relationship.Īna de Armas plays Melinda with a cool, sexy suavity engendered by disillusionment. And that's okay, because the point is made loud and clear. Ben Affleck plays Vic in a powerful performance so understated we're never really sure what he's capable of doing. He later corners her new lover at the same party to quietly warn him that he killed Melinda's previous extramarital partner. We're not sure why they're together, except maybe for Trixie's dubious benefit, as in the opening sequence we see Melinda actively cheating on her husband as he watches. This story, based on the Patricia Highsmith novel (Highsmith's work always gets high scores in my roster), concerns Vic and Melinda Van Allen, a married couple with a young daughter Trixie and absolutely no love between them.
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But that's about it in the last decade or more! I love movies like this, where the sexual tension is palpable and laced with murderous intent the actors are usually gussied up to look like glamorous off-duty models and the drama is forced, uncomfortable, and delicious. Of the most recent ones that come to mind, Fatalewas a bit disappointing, Acrimony was pitifully misled, and I actually really enjoyed Careful What You Wish For. I thought Lyne had retired or something, but thankfully the master (of sorts) is back in form after, what, a decade or more? I confess to loving a solid erotic thriller, and the subgenre has been considered dead for a long time now.
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Okay, now that that's out of the way, I really liked Deep Water, the poorly titled new erotic thriller from Adrian Lyne ( Fatal Attraction, Jacob's Ladder, Indecent Proposal). I get that Disney owns everyone now, but if they're going to financially back movies for adults, why do they have to dump the releases unceremoniously on Hulu? A Hulu exclusive? Ugh, I'm getting tired of this streaming frenzy.