The film is impressive for how it holds its protagonist’s view of the world separate from its own.
The film’s depiction of an era of rigid class divisions and incalculable loss comes through the hazy, soft-focus goggles of nostalgia.
Young discusses Josephine Decker’s unconventional processes and what she will take from the film to future projects.
Every scene in Josephine Decker’s film operates at a maximum frenzy fraught with subtext.
The film goes down easy because it saves the self-improvement clichés for the homestretch.
The film carelessly affirms the idea that all women should be able to fight back at will, and if they don’t, it’s on them.
The film doesn’t have much of a point, as its characters are reductive variables in an inevitable equation of carnage.
Simon Stone’s film too often strains for a tragic gravity that its ultimately melodramatic characters never earn.