![]() But this small movie (with a budget of $2 million and profit of $5 million) really showcases just how good he is. In lieu of that, no form of punishment civilians can mete out - even a front-page ouster from the movie studio you founded and public shaming from those who once praised you - feels even remotely adequate.Listen, saying Tom Hardy is a great actor is the most unoriginal take ever. In an acceptable world, people like Noelle’s victims would be locked up soon after victimizing others, then prosecuted and found guilty. But this line of reasoning stalls, and the pic resolves with a moral ambiguity one suspects is unintentional. It steps back from expressionistic sound design (actually part of the effects-rich score by composers Sonya Belousova and Giona Ostinelli) that puts us in her head during intense scenes and starts allowing scraps of dialogue that challenge the morality of her judge-jury-executioner agenda. Though ripe for exploitation-flick treatment or cathartic sensationalism, the film starts dropping hints of a calm, critical distance from Noelle’s killing spree. to a lineage of murderer-artist tales going back to Roger Corman’s comic A Bucket of Blood and beyond. Leite turns her into a primal, writhing paint-slatherer in studio scenes, connecting M.F.A. Simultaneously, Noelle’s intense experiences are transforming her art. Sure, her fratboy victims are easy targets once their libidos are engaged, but hunting and killing bad guys was never this easy for the trained assassin in Kill Bill, and in more serious vigilante films, vengeance comes with a higher emotional cost. Skeptical viewers may balk at how smoothly Noelle transforms into a seduce-and-slay vigilante here. All she sees are men who destroyed women’s lives without repercussion, even when they documented their own crimes. In the following scenes, Noelle starts connecting her experience to those of varied other women - some who want to forget they ever reported violence that went unpunished some who form survivors’ groups whose means of outreach (donating used beauty products to assault victims?!) don’t always match their good intentions. (After that discovery, Clifton Collins Jr.’s Detective Kennedy will chase clues that might lead to her.) ![]() ![]() But he winds up dead, and Noelle flees the scene before his body is discovered. When Luke cluelessly texts “want to come over?,” she does, hoping to get an apology. He immediately forces himself on her, ignoring her timid objections.īack home, Skye warns Noelle not to report the rape to school administrators, predicting they’ll suggest she’s crazy or a slut it was “one shitty night,” she urges, “don’t let it ruin the rest of your life.” (As for going over the head of administrators and reporting the event to police, that’s an option nobody discusses.) She reports it anyway, and is confronted with questions that, however relevant they might be to a crime investigation, suggest an extreme reluctance to pursue the case. She goes to Luke’s party, where things go beautifully until the two are behind closed doors. When she’s asked out by a fellow student she has a crush on (Peter Vack’s Luke), Noelle tries to seize a moment for reinvention, making herself less mousy with the help of neighbor Skye (Leah McKendrick, who wrote the film).
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