In preparation for watching the Ripley series on Netflix, I got round to watching these two lasses, which both owe a fair amount of influence to a couple of Patricia Highsmith works.
Do Revenge
I wasn’t really sure what to expect going into this one. I only knew that it took some decent influence from Patricia Highsmith’s Strangers on a Train, which was adapted into the famous Alfred Hitchcock film. I haven’t read the book yet or watched the film. So um, yeah, that’s helpful.
Anyway, I got some strong Clueless vibes early on, so at least that was some helpful film knowledge to lean on. And there were some big themes from the Black Mirror ‘Nosedive’ episode going on there too. Every little film or TV reference helps (no Tesco, you can’t sue me). The narrative centres on popular student Drea, whose social status comes crashing down after an awkward leak on social media. Que revenge by teaming up with social outcast Elenor and taking out those responsible. I spent most of the movie staring at Maya Hawke’s dreamy expression and thinking ‘goshdarn she looks so like Uma Thurman’ while having to constantly remind myself ‘well, she’s the daughter of Uma Thurman, so, y’know, genes’. But yeah, Maya’s got a super cinematic face like her mum.
Do Revenge is a pretty fun watch, assuming you’re willing to go along with the frequently ludicrous plot twists that never really gel. And assuming you’re cool with the standard mean girl schtick. If you are, then it’s a pretty enjoyable, albeit forgettable bit of goofiness.
Saltburn
Speaking of implausible unnecessary plot twists, uh, this. It did take me a while to get round to watching Emerald Fennel sophomore effort, but at least I got here in the end. I was initially put off after seeing a reviewer comparing it to The Talented Mr Ripley, which essentially spoilt the story for me. I could guess, without much genius, that the main dude would not end up being a particularly nice dude and would probably end up killing some folks. Which proved to be right.
Nonetheless, it was still a lot of fun, and there’s no doubt that Barry Keoghan, playing awkward student Oliver, has got a fair amount of charisma. Or ‘rizz’, as you young folks say. So it was a good time watching him experiencing the Oxford life and being a social outcast (I can relate in some ways in terms of my freshers’ week, but maybe not to the more murdery elements) before advancing to the high life of the Saltburn estate. I initially got confused by the title, assuming it was referring to this place up north in the UK where I’d been on a few family holidays, but no, it’s referring to this big ol’ house. Rosamund Pike is a lot of fun as the matriarch, even if Felix – the eye of Oliver’s affection – falls a bit flat. Yeah yeah, I know Jacob Elordi’s got a big fanbase from The Kissing Booth, but he just wasn’t working for me.
Despite pretty much guessing all the murder stuff and the twist, it was still a fun ride. I realise I’ve been the work fun in this post a lot, but y’know, it is what it is. Fennell needs to watch out for that ending twist ‘surprise’ though, otherwise she’s going to be getting into M. Night Shyamalan territory. And that’s an unwise territory right there. But, at the same time, in a world that’s full of unbalance with the weight of female nudity with shiz like Game of Thrones, it’s refreshing that Keoghan puts in all the effort in that audacious final scene, arguably readdressing the scales all in one go. Congrats, sir.