Maybe that’s the blackest part of this dark, dark comedy - the idea that at least in fiction, some kind of justice will actually be served. The price is so, so high for the smallest amount of justice. It’s difficult to maintain the tone of queasy horror, anger, and comedy that often showcases the absurdity of a woman’s world, and that may be part of why I’m conflicted about my feelings here. It’s as if the color pink were sharpened into a scalpel. She’s got a crystal clear vision and an aesthetic that is perfect for every girl who grew up on rainbows, early 90s neon, and Lisa Frank.
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The music is also full of pink glitter pop bangers coupled with slow-mo horror movie strings, and Emerald Fennell’s script and direction (still can’t believe I didn’t know she was Camilla on The Crown!) is clear and cutting, like the winged eyeliner of every woman I’ve ever wanted to be. I think I loved it in spite of how frustrated it made me, and that’s due to fantastic performances from Mulligan and every adorkable dudebro you had a crush on in 2010 cast here as the nice guys with sweet smiles hiding a mouth full of razor blades (Adam Brody, Christopher Mintz-Plasse, Bo Burnham, Max Greenfield, Christopher Lowell). This is absolutely a film you should watch for yourself and form your own opinion on. I didn’t cry, but I did grimace nearly as often as I laughed out loud. The message here seems to be that the crime of women’s complicity so much worse than the actual assault and violence men perpetuate, which leaves a bad taste in my mouth. In fact, her revenge on the women involved in Nina’s ordeal is drawn out to the point of cruelty - in Madison’s (Alison Brie’s) case, for weeks.
The punishments seem so brief, fleeting - a bad dream, half remembered upon waking. I love watching Cassie (and Mulligan, whose performance should absolutely earn her Best Actress) work, but am left clenching my jaw at the cost of Cassie’s endeavors and all the clever tongue-in-cheek smiley faces at the end aren’t going to make that feel better. She plays by the rules, her behavior isn’t illegal, and her tools of revenge are wigs and makeup rather than knives or guns. But Cassie doesn’t engage in acts of violence - she just gives these men a stern talking to. I wanted a revenge thriller as sharp as Cassie’s stiletto fuck-me pumps, I wanted a sense of catharsis at making predators like the wolves in “nice guy” clothing pay in some way for their crimes. My gripe with this movie is rooted in my own discomfort at its adherence to realism.
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