The script has been spruced by Fleabag's Phoebe Waller-Bridge, meaning there's some overdue development of female characters like Naomie Harris's Moneypenny, as well as a challenger to Bond's 00 status in new agent Nomi. There's also plenty of callback references for Bond purists, with hints at Dr No in Malek's character, numerous nods to George Lazenby's On Her Majesty's Secret Service, and echoes of the trippy villain lairs of films like GoldenEye. Still, there's plenty of visual delights courtesy of cinematographer Linus Sandgren, from a creepy overhead opening shot that descends through the mist, to a car chase that rips through a Nordic forest and demolishes everything in its wake. The 25th Bond film has the difficult task of bringing together the various different storylines of the Craig era, and as a result the plot doesn't stand on its own two feet as much more than a climax of what has come before. There's also the return of many of the Bond Cinematic Universe, with the likes of Léa Seydoux and Ben Whishaw back for Craig's last hurrah, and in the director's chair is Cary Fukunaga, the auteur behind that first, perfect season of True Detective. That includes the latest film and final outing for Daniel Craig, No Time To Die, in which 007 finds himself up against a formidable opponent in Rami Malek's pockmarked Safin. Delirious, and now nominated for a whopping 10 Oscars.Īmazon's big Bond deal is good news for Prime customers, as the entire back catalogue of 007 is now available to stream on Prime Video. But the universe is being torn to pieces, and Evelyn can draw on the skills and power of her other selves to sort things out. She's even worse than the one where everyone has hot dogs for fingers. It turns out Evelyn is one of an infinite number of Evelyns across all of space and time, and she's the worst of all of them. Or, more accurately, the last straw turns into a myriad more straws. The last straw is a meeting with the IRS. Michelle Yeoh is Evelyn Wang, a woman whose marriage, business and family is falling apart. However: were you really going to do anything more enjoyable with that 20 minutes? Unlikely. Then it died down into being just a really, really, really good film, which is really inventive and fun and probably about 20 minutes too long. Social media was absolutely aflame with lust for Everything Everywhere All At Once. Girl Picture is an intimate and authentic portrait of girlhoodâsee it if you can.Now, for a few months it seemed like this was going to be the single greatest film ever made.
The film is intense in this way, but itâs leavened by a beautiful naturalism thatâs seen in the young castâs performances, the settingâs soft lighting, and the cameraâs boxy ratio and grainy finish, the latter of which recall a disposable camera capturing the indiscriminate moments shared between teens. Theyâre at a point in their lives where falling head over heels is still an endearingly fresh experience and not a frustratingly repeated mistake. For now, theyâre explosive and ecstatic and awkward and angry. Of course, thatâs a lifelong process, but they donât need to know that just yet. On the cusp of adulthood, they plunge into house parties and romantic affairs in the hope that exploring love, sex, and adventure leads them closer to being self-aware adults.Â
Understandably, Mimmi, Rönkkö, and Emma, the teenage girls who lead this Finnish coming-of-age drama, are bursting with emotional urgency.
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