Why the Unlikable Woman is More Likable Than You Think

At the 2018 New York Film Festival, actress Carey Mulligan was asked how she could get into character for someone as unlikable as Jeannette in “Wildlife” (2018). Mulligan explained to the shortsighted audience member that likability is more than niceness. It is finding a connection in someone. Mulligan transformed herself into Jeannette, a young mother who, while her husband is away, has an affair as she tries to find herself again. It is a beautiful performance about the way definitions can be thrust upon and shackle women.

So, what made her unlikable? Was it the infidelity? The selfishness? The uncomfortable self-exploration? It seems that male characters can do and be those things. We call them “complex” or “complicated.” We label them the “anti-hero.” But what makes that journey different for women? Continue reading Why the Unlikable Woman is More Likable Than You Think

Review: “Marriage Story” (2019) Netflix

As with some of Bambach other films, “MARRIAGE STORY” is long on talk and short on cinema. While most are at least a good watch, this one tricks you into thinking you’re getting a marriage story for the first five minutes, but it’s got a little trick up its sleeve and you soon find out that what you almost fell for, is nothing of the sort. With its sorta jokey NY/LA rivalry theme, and in certain LA frames giving us the “Annie Hall” feels, (along with other films in the same vein appear to be evoked here) but the mere mention of these kinds films only highlights the weakness of this one. Continue reading Review: “Marriage Story” (2019) Netflix

ITOL Top 50 Films of the Decade, Entry No. 42: The Kids Are All Right

Year: 2010 Runtime: 106 Minutes Director: Lisa Cholodenoko Writer: Lisa Cholodenoko & Stuart Blumberg Stars: Annette Bening, Julianne Moore, Mia Wasikowska, Josh Hutcherson, Mark Ruffalo By Caz Armstrong “The Kids Are All Right” (2010), directed and co-written by Lisa Cholodenoko, … Continue reading ITOL Top 50 Films of the Decade, Entry No. 42: The Kids Are All Right