The dichotomy represented by Jonathan and John is too clean for the film’s exploration of a divided psyche to ever feel particularly complex.
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.
In The Bad Batch, Ana Lily Amirpour reduces politically loaded signifiers to a battle of the cliques.
The film is a grab bag of visual punchlines and topical references capped with interchangeable music tracks.
The juxtaposition of courtship and violence is Pride and Prejudice and Zombies’s one true coup, but it still mistakes weaponry for agency.