There were many ways in which this could go wrong, but Jacobs chose a structure for us to focus on the monther-son bond and its resonance. It experiments with deadpan farce and the really cold banalities of the upper class. The whole meta-joke was the American way Jacobs inserts— not the ignoramus or the Diane Johnson cultural perception— but the rich privilege that plays a part in DeWitt's text-painting, so France became a cohort to its comedy instead of just…
Housewife turned prostitute-dominatrix-lover girl to a bisexual gigolo is a byline that could be thrown in here. But van Ackenren's scathing look into this scenario is deadpan funny, and reserved in final laughs as we plunge into a chilling bloopers-esque ending. Because while it is an insanely sexy erotica with dead serious treatment into setting a woman in flames, it's all within van Ackeren's control. A-
Slick, exhilarating ride that borders on message film rather than the Verhoeven original version (to which I remind myself, these two are very different from each other). Kinnaman has always been likeable, and this time, in a rare and almost Henry Cavill-like turn. Has the audacity of cinema verite in a pop-corn flick surface. B+
This review may contain spoilers. I can handle the truth.
Monteras II had great mise en scène. But I was angered by its treatment of a fairly problematic appropriation on the conventions of the hip-hop scene that in itself is anti-gay and anti-women. You have an anti-hero at its center whose determination skewed schematic moments of character development (i.e. his idea of cypher would be to vilify a woman about her weight; he let a woman be raped and in his introspection, just cried! ("i can't do anything," he wailed,…