Short but sweet. One of Steve Martins finest performances. A comedy lasagna of EPIC proportions. There are jokes inside the jokes INSIDE THE JOKES…impossibly good fun. Tender, charismatic. A wonderful work, my only criticism is 5-10 minutes shorter, and it’d be truely perfect.
Watch ‘The Jerk’…just…just go watch ‘The Jerk’.
Watched on Sunday September 22, 2024.
source https://letterboxd.com/tytdreviews/film/the-monster-club/4/
Watched on Wednesday September 11, 2024.
source https://letterboxd.com/tytdreviews/film/hundreds-of-beavers/1/
Probably the 3rd time watching this movie, i’d previously seen the MST3K riffed version (Go Packers!), unriffed and tonight, it was the turn of the ‘Rifftrax’ crew to give this uncomfortably incestuous picture a run through the ringer
It’s exactly what it says on the tin, a meteorite containing dozens of diamond hard spider eggs crash land in a field in the mid west prompting 2 or 3 storylines revolving around a dollar tree Tom Atkins and his science partner lab tech friend trying to find the location of the meteor (and theres something about a black hole going on) and the main plotline revolves around a small hillbilly cluster family who find some of the eggs, hatch them and unleash…THE GIANT SPIDER INVASION!!!
Theres a good reason this one is a prime returning candidate for riffers old and new. The script feels like an automatic writing experiment gone awry, the pacings awful, the tone is dryer and stodgier than unbuttered bread and just plane icky at points with Alcoholic mums hitting on 15 year olds, and incestuous uncles trying to coeerce underage nieces into awkward positions for fake diamonds…its…an experience…make no mistake. The act structuring is sloppy with no clear raising or lowering of the stakes, and the film abruptly ends with a resolution that comes out of left field and feels rushed.
The directions more competant than SOME of this films peers…but that really isnt saying much, again its overly basic, doesnt really follow the ‘rules of film’ and doesnt feel particularly ‘refreshing’ to sit through.
the cine is rushed, with poor compositions and strange B-roll choice, the editing is atrocious, with a lot of the sound effects and music cues getting abruptly cut off before they’re even halfway through playing.
The performances are atrocious, everyone looks like they’re on the verge of severe heart failure. exhausted, tired, sweaty, barely able to remember their lines…this cast look like they begrudge having to physically act in this thing…its amazing.
One of the more infamous entries from Bill Rebane, The Giant Spider Invasion is a bizarre film…but one I do ultimately have a bit of a soft spot for. The Rifftrax crew did a pretty good job on this one with some really funny bits a couple big hitters and their short to open proceedings was equally hilarious. I do still think the MST3K version is my preferred way to catch this one…But this more than scratches the itch.
source https://letterboxd.com/tytdreviews/film/rifftrax-live-giant-spider-invasion-2019/
Kicking off my Fall season this year, I decided to join some friends on a podcast to discuss ‘The Hollow’ a modern day sequel to the ‘Headless Horseman’ story thats really more like an extended high school melodrama than a horror film honestly.
The plot is set in the modern day of 2004, and a young high school student looking to branch into local history has taken a job talking about the tale of the headless hoseman in sleepy hollow. Its initially played as just that, a fictional tale, but after a chance encounter with a gravekeeper, its revealed that theres more to the myth than first meets the eye and that our hapless local historian may in fact be a long lost descendant of Ichabod Crane.
With a growing love triangle emerging out of left field between a Jock, our hero and the head of the cheerleading team COMBINED with a subplot about our lead and his dad not having the best relationship in the world…The annual Halloween Hayride may be thrown into chaos when the headless horseman seemingly returns from the grave.
This one? was dull. painfully dull. A good friend of mine put it best ‘There are ‘Horror’ movies, and ‘Halloween’ movies…This is a Halloween movie’ and its true. The horseman himself appears for around 30 seconds in the first 12 minutes of the movie and then isnt seen again until the 50 minute mark of the film, The movie itself has 5 minutes of end credits and 3 minutes of opening titles making the just over an hour and 22 minutes ACTUALLY an hour and 17, and basically the entire movie struggles to deliver on the premise almost immediately.
The opening act is split down the middle, with the first half of act 1 more than meeting the brief in setting up a ‘modern’ sleepy hollow sequel. But the second half of the first HEAVILY deviates into what is essentially a ‘Dawsons creek’ style high school drama…the grave keepers appearence is welcome, but he’s basically just doing a dollar store ‘Crazy Ralph’ impression that doesnt grow much beyond that. Amazingly, he’s probably the best thing in this film and he seems to largely understand that this film ISNT going to be the next great work, and so he kind of leans into a not *too* serious quasi comedy portrayal for the character. Which was very endearing.
The 2nd act is a flabby stodge of high school drama and the gravekeeper trying to convince our lead that nefarious happenings are occuring…which leads us to a 3rd act finale thats *fine*, but left quite a bit to be desired and ended VERY abruptly and without logical reason.
The tone of this things all over the place, I dont think they knew for sure whether they wanted to be VERY serious or a little tongue in cheek, so they try both and it ends up not quite achieving either. the pacing is criminally slow for most of the runtime as the film DESPERATELY tries to hit TV movie feature runtime…
It seems to REALLY want to do gore and proper horror, but because this film was seemingly produced for the ABC Family channel, it means all but one of the kills happens off screen, and the ONE sex scene in the film contains no nudity, no visual sex and ends with one of the worst decapitation scenes i’ve seen in a good while.
Non of the characters have any sense of depth or detail. What you see is what you get, they’re all one note, stereotypes of the type of character they’re supposed to be, so the Jock is THE jockiest jock, the football dad is THE most negative toxic one note football dad you’ve seen.
Because theres no depth, once you get who these characters are, it quickly dries the whole film out, as you realise, these characters arnt going to grow and develop across the runtime. This is all theres going to be for the 83 minutes (+commercials)
Put it this way, if I was checking this out, looking to scratch a horror itch. I’d have been VERY dissapointed. this is a film that trades more on vibes than anything else, and even than…its not particularly great at that.
The direction and cine are ‘fine’ all things considered. I didnt love it, the creative decision to add a little camera sway to most of the shots, I believe was intended to give a sense of unease…but ultimately, it felt forced and didnt suit the scenarios at hand. the colour grade choices were overly basic and kind of poor…its basically desaturated and tinted orange…the fact they’ve black crushed all the night footage too makes a lot of the 3rd act pretty painful to sit through, because you stuggle to see whats actually going on, and what you can see is edited so feverishly it makes it hard to absorb.
Compositions overly basic and a little dry, its a step up from the SOV circuit at the time…but not by much, and the edit is breakneck and frankly unpleasent in places.
The performances are all equally one note, and quite dry. With only Stacy Keach as the gravekeeper really having ANY kind of memorable/notable character within the piece…Everyone else (including star to be Kaley Cuoco) were just utterly forgettable and lacked any real kind of on screen presence.
And the soundtrack is THE most generic early 2000’s grunge score you’ve ever heard in your life.
Oh…and as an aside (because the world NEEDS TO KNOW!) there are several scenes where Ian (our main character) and his mum have heart to hearts…the way those scenes are shot though are VERY weirdly arranged and give the impression they’re romantically involved. In fact during the first altercation between them, I missed the fact she was Ians mum and thought they were dating…its SO weird…
The Hollow is about as generic as they come for low budget early 2000s horror/vibe movies. It lacks any kind of depth or ‘bite’ that would have really kept me watching, it feels rushed in some places, dragged out WAY past the reasonable limits in others and the near total lack of gore or on screen kills really hampers an already yawn worthy production. I wasnt a fan of this, I cant recommend it and im almost certain there are other better ‘sleep hollow’ adjacent productions out there…Dull.
No Notes.
Its an extended episode of the Batman ’66 tv series but with a bigger budget and better effects, it carries over wonderfully, everyones giving 100% and camping it up to the max.
The only thing I can think is it maybe would be interesting to see this edited into a 4 part TV special, or to see it re-edited into a 90 minute ‘TV Movie’ length.
Otherwise? for what this is trying to achieve. it ABSOLUTELY nails the assignment.
John Waters Penuiltimate work to date, ‘Cecil B. Demented’ feels like a refreshing return to form for the film maker, after a near 10 year run of inconsistent stabs at finding his place within the (at the time) ‘modern’ cinema landscape.
The film follows Honey Whitlock (Melanie Griffith) a snobby and high strung professional film actress who, while attending a gala premiere of her latest ‘Oscar worthy’ work, finds herself kidnapped and pulled into the cult of Cecil B. Demented. an underground film maker with a cult like following who believe in the concept of ‘Reality cinema’ the idea being that you pre-film some scenes as lynchpins and then shoot the ACTUAL movie in a real public place, with unsuspecting members of the public present who are encouraged to work to Cecils demands…or face the ‘night night’ end of a pistol.
With the police hot on their trail and a growing opposition from hollywood and industry execs. Cecil and his team have taken a vow of celibacy until the film is complete because ‘the film comes first’ at all costs.
And after struggling a bit with ‘Cry Baby’, not quite fully loving ‘Serial Mom’ and drumming my fingers throughout ‘Pecker’ This film really does seem to recapture a sense of anarchic and controversial naughty fun that I loved about John Waters pseudo studio era (Female trouble, Desperate Living, Polyester).
The script is littered with references to cult and outsider film makers, it gets the balance of being lightweight enough to enagage people unfamiliar with cult, but complex enough to keep long time Waters followers bedded in just about right for most of the runtime, and clocking in at an hour and 29 it really doesnt waste much time.
Theres a nice clear story at the heart of this one, with a soldily paced out 3 act structure which transitions decently. While it does lean a little towards the repetative (with the main body of the shooting scenes getting numbingly repatitious in particular) the humour and tone are really why your paying to see this thing.
John Waters writing here is razor, critical and delivered with absolute perfection by the cast, its a very quotable movie with some fab one liners and some real creative fire behind the plotting itself. I laughed my way through most of this movie and really quite enjoyed the idea of Waters both lambasting the hollywood system, while also turning the light inwards to those weird ‘outsider’ film makers who think they’re significantly better than everyone else. Which I acutally kind of respected.
the characters all have their own unique personalities and complexities, though it does feel weird seeing these characters that were clearly written with Johns old ‘Wrecking crew’ in mind, getting played by a new stable of actors.
The directions rock solid, an structured production with a clean creative vision behind it that even bothers to experiment a little beyodn the usual generic scene structuring rules. The set design in this one really helps give the production a big boost, and if I were a gambling man, i’d put money on Waters being influenced here by the 1989 erotic ‘equal’ “Dr. Caligari” as there are moments in this that look/feel very similar to that movie.
Direction of the cast for the most part is pretty solid too, i’d argue that this is realistically the most naturalistic a cast has appeared in a John Waters movie. the delivery is over the top and manic for the most part, but for this cast? it feels genuine. A lot of other Waters movies have cast members who dont quite look/feel right delivering loud, aggressive toned works..but here, I think they’ve been carefully guided and instructed and I think they do a great job.
The cine too is delightful, hyper colourful, vivid set design REALLY helps give the camera a lot to work with, composition is rock sold throughout, while it may be a little generically sequenced in places, it more than makes up for it with some genuinely surreal moments and the brave move in not being afraid to experiment with sequence structuring.
The edit is relatively tight, as with most films I do feel this could have stood to have been 5-10 minutes shorter, but on the whole its a really well assembled production and probably the best cut John Waters movie i’ve ever seen.
The performances also really help here, with a wide variety of character types on display, it means you get all the different flavours of ‘Waters’ characters from over the years perfectly curated, and im certain there’ll be at least one performance here that you’ll really enjoy, if not all of them.
For me, it has to be Griffiths as ‘Honey’ she really gets a meaty shot here at a character with a decent growth piece, and she transitions between snobby and dismissive, to defeated, to slowly warming to the cultish ideology to eventually a full embrace of it, working through all the emotions involved in that along the way. I think she’s fabulous for every minute she’s on screen, her physicality is subdued, which I think works in the films favour, but her delivery for me was what really sealed the deal.
Thow in a VERY aggressive and gritty 2000s punk soundtrack, intercut with 50s jukebox classics and old movie studio stings and I had a really good time with ‘Cecil’. It felt like a confident return to form for the director, While it is a little bit of a downer that Johns period of experimentation in style and writing didnt yield any new strings to his bow in terms of areas to grow into. I feel like his work between 1990 and 1999 helped make him a much more confident director and writer, and by this point. I feel like he was able to transplant his newly learnt skills straight into his old stomping ground, and he works WONDERS with it.
Definitely recommended if your a fan of films like ‘Female Trouble’ or ‘Polyester’, I think you may come away a bit dissapointed if you preferred Waters more ‘gross out’ and gritty era of film making, but in terms of his latter day works? this is one of the best.
source https://letterboxd.com/tytdreviews/film/cecil-b-demented/
Watched on Monday August 26, 2024.
source https://letterboxd.com/tytdreviews/film/halloween-resurrection/1/
I had relatively high expectations when I found out Charlie Day was writing, directing and starring in what would be his first feature length work. I’ve been a long time fan of ‘It’s Always Sunny In Philadelphia’ and I’ve found that, whenever he turns up in a movie, he’s generally my favourite aspect of it. Which makes it somewhat dissapointing that ‘Fools Paradise’ is just kind of…fine.
The plot follows a man dubbed ‘Latte Pronto’ who has strong regressive tendancies. He’s not medically mute, he just seemingly doesnt talk, and the doctors in the opening scene with him confirm that he has the mental capacity of a 5 year old (or a labrador). In the opening he’s in a mental hospital, but because the government wont pay to assist in treating his condition, he’s instead dumped out of the hospital and bussed into downtown LA, where he’s almost immediately spotted by a Hollywood executive with a problem.
Y’see, he’s currently working on a gritty remake of ‘Billy the Kid’ and the lead actor for the film is a method actor who’s being a real pain in the ass, BUT by sheer chance, Latte and this actor look almost identical. So. The producer gets Latte to fill in, doing a few mute pieces to try and keep production rolling. Then the method actor accidentally hangs himself…Catapaulting Latte into the weird, wild and deeply sensual world of the hollywood management system. Teamed up with a desperate to break into the industry publicist ‘Lenny’ the pair will try and take on hollywood…with chaotic and explosive happenings.
Essentially this is trying to be a ‘fish out of water’ style film, a ‘Keatonian’-esq quasi silent picture with elements of ‘Broadway Danny Rose’. and what its trying to be is also kind of its problem.
The script has a pretty straightforward plotline running through it, but I feel like they struggled to really pick a lane as to whether they wanted this to be a screwball, more slapsticky (the keaton influence) piece, or whether they wanted to lead more with naturalistic comedy and contrasting pathos (see: Rose) As such, it ultimately ends up kind of falling between two chairs, with the more screwball-esq comedy feeling a little forced and toned down, when it needed to be ramped up. And the naturalistic comedy elements working a bit better than the screwball stuff, but still comes up a little bit short, with the pathos elements being given next to NO time to actually breath here.
As such, you end up with a film that’ll mix pratfalls, with ‘Big lebowski’ inspired one liners, intercut with quite heartfelt moments that get less than a minute to rollout before they’re trying to go zany or strange again…It really throws the film out of whack and makes it difficult to try and figure out exactly what Day is trying to put across with this thing. If the message is an attempt to showcase that Hollywood is full of crazy and strange people, even from the perspective of someone LITERALLY introduced to us as a ‘crazy person’. then it kind of fails on two counts.
One being that 99.99% of the world ALREADY know that Hollywood is full of lunatics, I dont really feel like we needed reminding of this fact, and two being that the crazy people we’re introduced to in this…just, arnt really THAT crazy?…I just feel like if your going to do something like this, you really need to push your cast to go to the next level, otherwise it just kind of feels like a self congratualtory acknowlegement of a flawed system…and this, while not FULLY in that camp, is swinging that way.
I also had issues with the pacing here, the second act drags a little whole we wait for the film to refind its feet after a relatively strong opening act, theres quite a bit of repetition in the 2nd and 3rd act of ideas (at one point I actually thought i’d acidentally jumped back a scene or two because they redo a crazy car chase/race sequence) the 3rd act does start to find its thread an build up steam, but the ending was a little underwhelming and while it had nice sentiment, I dont feel like it was a particualrly ‘earned’ ending, nor did it really fall in line with the tone of the rest of the movie…Nor was it particularly unique. Again, think the works of Woody Allan and your not a million miles off where this thing goes.
The characters outside of Latte and Larry are all purposefully vapid and shallow. Which is a fine enough gag, but the lack of variety in that vapidity harms the film and as a result it is a joke that wears quite thin, quite quickly. To the point that by the 3rd act, i’d pretty much forgot that it was supposed to *be* a gag…which is a problem if your film is trying to contrast light and dark.
I dont really have a whole lot to say on the direction and cine for this thing, its a very pretty to look at movie, but im not entirely convinced it was the right style of direction that a script like this could have thrived in. It looks a feels very clean, very clear, very smart. But we’re constantly at an arms length from the characters, and the camera play is kept quite limited and only really played with in controlled short bursts. I feel like this is shot more int he vein of a light hearted drama, than a comedy or a more intimate picture (which it feels like its trying to be).
Composition is pretty, but uninspiring. sequences are cut together fine enough, but lack passion. It feels like a professional studio pic. Which is FINE…But films like this need a bit more behind the eyes than just a clean image and clear edit. it needs a layer of heart. Something deeper that helps the audience connect with the main character and their situation…and I didnt really feel that here. I didnt feel an emotional connection with any of these characters, or their world. I just felt like I was watching something trying to be a bit safe…and thats a problem for me.
Performance wise, Charlie Day is fine enough as ‘Latte’ Day has always been a great physical performer, and I feel like he really succeeds here in giving a lively facial performance and a solid physical one. I really do wish though that the cine had given him more close ups to really showcase that facial range, as he pulls some tremendous faces in this feature…non of which are captured particularly clearly.
Ken Jeong as Larry is great as a loud mouth publicist who shoots his mouth off first, and deals with the consiquences later. While I think he gives a really quite solid performance here, I wasnt totally won over by his chemestry with Day. they’re a pairing for a decent chunk of the films runtime, but 90% of the film seems to just be Larry shouting at ‘Latte’ or offering him an energy drink…Which makes the turns in the 3rd act between the pairing all the more unebelievable. I feel had the script given the pair a couple of quieter moments to build a relationship, it would have made the 2nd half of the film much stronger. As it stands when the revelations between them DO come out in the 3rd act…all I could muster really was a shrug.
The rest of the casting choices are honestly unremarkable. It was nice to see some ‘Always Sunny’ Alumni cameo throughout, but on the whole I was just kind of ‘meh’ towards them. I cant say there was a bad performance here, but noone reallys stood out.
Mark Kermode used to set a rule with comedies. If they could make him laugh decently 3 times, they passed the test and were (at minimum) a ‘good’ comedy. I laughed openly with this film once…I cracked a few smirks/smiles…but a smirk/smile does not laughter make. ‘Fools Paradise’ is a somewhat gentle watch, which is in part its biggest problem. I feel had it leant just a bit more into a chaotic energy, and had it picked a lane in what it actually wanted to BE. It could have been a really REALLY solid picture. As it stands it comes across as indecisive. a little thin on the ground and overly dry. Im glad I checked it out…But I dont think I could really recommend it, and I cant see myself revisiting this one anytime soon.
source https://letterboxd.com/tytdreviews/film/fools-paradise-2023/
A transitionary film for John Waters, ‘Female Trouble’ marks a shift in the film makers output from a very grungy ‘rough and ready/run and gun’ style of heavy gross out counter culture film making, into the beginnings of a much more technically proficient, considered and ‘studio friendly’ era. Make no mistake, ‘Female Trouble’ still has a hardened controversial edge to it. But the days of sodomizing women with rosary beads and eating dog crap are sunset.
The film follows ‘Dawn Davenport’ a wicked high school girl with one thing on her mind. a shiny pair of black ‘Cha-cha heels’ to complete her school outfit. When her parents fail to deliver on the goods come christmas morning, Dawn snaps; destroying the christmas tree, smashing all the presents and knocking her mother unconcious, before fleeing in her pyjamas into the back roads to hitch a ride somewhere and start afresh.
Unfortunately the first person to catch her on that road is a sleazy individual (Also played by ‘Divine’) who sexually assaults her, resulting in Dawn falling pregnant with her daughter ‘Taffy’ a VERY vocal an opinionated child who gets under Dawns skin.
After falling in with a bad crowd (and a boring marriage) Dawn eventually finds herself as the face of a crime syndicate being run out of a hair salon, where committing elaborate and disgusting crimes raise her higher and higher within the criminal industry, where muder is considered high art, and the electric chair is like winning the academy award.
I’ve always had a bit of a soft spot for this one personally, while the pivot away from wild-eyed chaotic film production is missed, the structure and technical skill being injected here is welcome and this film seems to manage to just about get the best of both worlds. having enough intensity and chaos to keep it unpredictable and interesting, but enough structure to keep it visually engaging and on the level. Some would argue the shift to a more ‘technically friendly’ output does deminish the sense of rawness that Johns early work encapsulates…I’d agree, but I dont think its bad that this embraces a more linear and traditional film pacing and plotting…its just different.
The script is a nice change of pace, we have a clear and slightly more complex than normal plotline that runs with a clean 3 act structure in place, the acts seamlessly transition quite well I found and lead to some nice impactful ‘ramp ups’ as and when the film needs to warm the audience up, or cool them down.
I do feel the 2nd act does get a little lost at times, the film clocks in at 97 minutes and I feel a good 10 minutes could have been shaved off this thing to make a much tighter overall production. There are just a few moments (particularly in the back end of the 2nd act) that, while nice…Just, dont really add anything to the main narrative drive. It feels a bit like a runaround in places, bordering on dreary.
Fortunately, John Waters dialogue and direction on delivery SHINES here, being almost as quotable as ‘Pink Flamingos’ theres barely 5 minutes that goes by without some OUTLANDISHLY yelled line of dialogue knocks you right off your seat, as you wonder how the HELL he even thought to write the way he did. Its punchy, VERY entertaining and easily one of the main reasons to check this film out outside of the performances themselves.
The tone of the film is wickedly dark with some wonderfully macarbre sight gags in place and the cast seem fully tuned into this new way of working, seemingly relishing every opportunity they can get.
The direction seemingly gets the biggest upgrade here, gone are the ‘wildly flailing’ camera moments, and instead comes very well considered, structured and crafted scenes that aim to show rather than tell how our characters are feeling. It looks like a professional low budget work, yes it loses the anarchy, but the anarchic days of John Waters career hit almost as much as the missed in terms of trying to tell the story through the moving image.
This is laser focussed on driving the story, and it feels a like a lot more planning went into trying to turn out an affectionate and sickly tribute to the ‘Juvinile delinquent’/’roughie’ films of the 50s and early 60s. In fact, one of my only criticisms here is that, again, around the second act things start to get a little bit nebulous, we get introduced to a lot of characters very quickly, some who are integral to the 3rd act, some who only appear in a scene or two. And the direction doesnt really do a great job of keeping track of why these people are here doing what they do…though part of that also comes down to a slightly rough edit…but more on that shortly.
The cine again is a big improvement over Johns previous works, here we have clean and clear shots, that follow the rule of thirds and have decent composition. Its a bit unfortunate that depth of field work isnt explored more with this one, but then, on that note, there are moments where whats in FRONT of the camera is barely focussed in…So my guess is, they didnt want to be too adventurous. Sequences are well constructed, though the edit does struggle a little bit due to a low uptake in B-roll captured on set and with there being so MANY characters who all have such mixed levels of involvement in the narrative. It would have been hard enough to juggle so many narrative lines in a full blown studio feature. letalone an indie one…Johns a fab writer, a fun director…Editing seemingly isnt his strongest point, god bless him for doing what he does, but his cutting work is a little lacklustre to me.
Performance wise, its still firing on all cylinders, Devine as ‘Dawn’ gets to work a full range of emotions from amerous, to sadistic, cunning to full on freaking out. Her physicality is only surpassed by her total committance to THE most over the top and manic deliveries possible. Her performance as ‘Babs’ is probably the most iconic role she ever did. But this one is probably the role that showed she had range.
The rest of the cast too all bring their own elements to the table, there is still as stong manic energy to this film, but it does seem a little more paired back when compared to Johns earlier works. Whether thats just because, they now had ‘retake’ money and could afford to mould things a bit better (reducing the sponteneity) or whether its just that they were aiming for a more subdued time, I cant honestly say. But they’re still good non the less!
And, once again we’re on a jukebox soundtrack. The title track for this film and some of the other original elements are fab, the 50’s/60’s scoring here actually really works for the film (given it starts in the 50s and ends in present day 1974) here? the OST works for me.
Female Trouble still packs a weighty punch, but its impact is quite different from anything that came before it, As John Waters progressed through his career, he would soften a little, favouring Studio safety and comfort over really getting into the muck and mire that his earlier films defined him as being renowned for. Non the less ‘Female Trouble’ lands at a point where your able to get the best of both world…a technically proficient picture thats not afraid to be controversial, hammy and hilarious…I think depending on your preference for Waters works, you’ll either absolutely love the coherency of this one, or feel its the worst of both worlds for losing its edge and favouring more structure. I however enjoy this one, and do rewatch pretty regularly.
source https://letterboxd.com/tytdreviews/film/female-trouble/1/
TYTD Reviews 