January Movie Review: Women Taking Control – Anora, Blink Twice & Send Help
- January offered a surprisingly potent start to the year for film, at least according to one Ukiah Daily Journal contributor.
- Frederiksen’s highest praise was reserved for Anora, awarding it an “A” grade and acknowledging Mikey Madison’s performance as worthy of an Oscar.
- The appeal of Anora, as Frederiksen notes, lies in its refusal to offer easy answers or a neatly packaged resolution.
January offered a surprisingly potent start to the year for film, at least according to one Ukiah Daily Journal contributor. Justine Frederiksen’s recent viewing list, while modest in size, revealed a common thread: women actively challenging and dismantling the structures attempting to control them. The films – ’s Anora, ’s Blink Twice and ’s Send Help – each presented a distinct take on female agency, though with varying degrees of success.
Frederiksen’s highest praise was reserved for Anora, awarding it an “A” grade and acknowledging Mikey Madison’s performance as worthy of an Oscar. This assessment arrives after last year’s perceived snub of Demi Moore for The Substance, suggesting a heightened appreciation for nuanced portrayals of women navigating complex power dynamics. The film, described as a deconstruction of the “Pretty Woman” fairytale, distinguishes itself by presenting a far more realistic and unflinching depiction of sex work and the demands placed upon its protagonist. The reviewer highlights a particularly memorable scene – Madison’s character’s defiant scream against attempts to contain her – as both hilarious and powerfully symbolic of her rebellion.
The appeal of Anora, as Frederiksen notes, lies in its refusal to offer easy answers or a neatly packaged resolution. This aligns with a broader trend in contemporary cinema, as evidenced by the success of films like Sean Baker’s work, which often eschews moralizing in favor of emotional resonance. A article in Ms. Magazine underscores this point, framing Anora as a “sharp, feminist take on power, survival and the myths we tell about women’s lives.” The film’s sweep at the Oscars – winning Best Picture, Best Director, Best Editing, Best Original Screenplay and Best Actress – further solidifies its position as a significant cultural moment.
Blink Twice, receiving a “B+” from Frederiksen, proved to be a pleasant surprise. Initially drawn in by the presence of Channing Tatum, the reviewer found the film to be a compelling blend of fantasy and psychological thriller, reminiscent of Fantasy Island and Get Out. The film’s strength lies in its skillful editing and atmospheric tension, a quality Frederiksen contrasts favorably with a less successful film, simply referred to as “Him.”
Send Help, however, fell short of expectations, earning a “C” grade. While praising Rachel McAdams’ performance as a standout, Frederiksen found the film to be a derivative mix of Cast Away and Misery, lacking the depth and originality of its predecessors. The reviewer specifically criticized the film’s reluctance to fully explore the darker aspects of its premise, wishing for a more daring and visceral approach akin to the work of David Fincher. The desire for a more “detailed and depraved” exploration of the protagonist’s descent into isolation and revenge speaks to a growing appetite for complex and challenging narratives that refuse to shy away from uncomfortable truths.
Interestingly, Frederiksen’s review includes a glimpse into her grandmother’s cinematic tastes from . This nostalgic interlude offers a fascinating contrast between the films of the past and present, highlighting how cinematic sensibilities and societal expectations have evolved over the decades. The grandmother’s viewing list – encompassing films like The City of Lost Children, Toy Story, Waiting to Exhale, 12 Monkeys, All the Mornings of the World, From Dusk til Dawn, and Dead Man Walking – reveals a diverse range of tastes, from French art-house cinema to Hollywood blockbusters. The brief diary entries accompanying each film offer a personal and intimate glimpse into a different era of moviegoing.
The broader context of this cinematic landscape, as highlighted in a article from Tone Madison, suggests a growing rejection of “bland, sexless, formulaic blockbuster offerings.” The success of films like Anora, with its willingness to challenge conventions and explore uncomfortable themes, signals a shift towards more daring and authentic storytelling. This trend reflects a broader cultural desire for narratives that resonate with the complexities of the human experience, rather than offering simplistic escapism.
Frederiksen’s January film diary, serves as a microcosm of this larger cinematic shift. It’s a testament to the power of independent cinema to provoke, challenge, and offer a more nuanced and rewarding viewing experience. The films she highlights, while diverse in their approaches, all share a common thread: a willingness to confront difficult truths and celebrate the resilience of the human spirit, particularly that of women carving their own paths in a world that often seeks to control them.