Getting near the end of ICM's best films of 2019 poll, I decided to check up Alicia Vikander's credits from the year. Finding that her lone feature credit of the year was a Netflix title,I got set to stream the earthquake.
View on the film:
Speaking Japanese for large parts of the film, Alicia Vikander impressively gives the appearance of Lucy Fly (what a name!) being at ease speaking the language (unlike the awkward, unsteady dialogue delivery actors from "the west" usually give in Bollywood flicks.)
Sitting in a police room looking back at how she went from finding peace being alone to mingling with the wrong crowd and become a murder suspect, Vikander chips away at the ease Fly has with herself in a terrific turn, thanks to the confident mask Fly wears being cracked by Vikander into a increasingly disorientated state.
Backed by a excellent jangling Industrial score by Leopold Ross/Claudia Sarne and Nine Inch Nails member Atticus Ross, writer/ director Wash Westmoreland & Chan-wook Park's regular cinematographer Chung-hoon Chung stylishly shake the growing disconnected mind-set of Fly in a immerse atmosphere of stylish shaking overlapping dissolves freezing on the shattered close-ups to Fly's fears of losing her mind.
Dabbing the early peaceful time that Fly lives alone over the opening, Westmoreland's adaptation of Susanna Jones novel aims for psychological Thriller fears from the entanglement of Fly with her new friends, but misses the chance for successful doubt,by having the duo act shady from the start, and little room being given to establish why these two relationships are so important to Fly and end up causing her such distress, leading to this flick sadly not being a super Fly.
View on the film:
Speaking Japanese for large parts of the film, Alicia Vikander impressively gives the appearance of Lucy Fly (what a name!) being at ease speaking the language (unlike the awkward, unsteady dialogue delivery actors from "the west" usually give in Bollywood flicks.)
Sitting in a police room looking back at how she went from finding peace being alone to mingling with the wrong crowd and become a murder suspect, Vikander chips away at the ease Fly has with herself in a terrific turn, thanks to the confident mask Fly wears being cracked by Vikander into a increasingly disorientated state.
Backed by a excellent jangling Industrial score by Leopold Ross/Claudia Sarne and Nine Inch Nails member Atticus Ross, writer/ director Wash Westmoreland & Chan-wook Park's regular cinematographer Chung-hoon Chung stylishly shake the growing disconnected mind-set of Fly in a immerse atmosphere of stylish shaking overlapping dissolves freezing on the shattered close-ups to Fly's fears of losing her mind.
Dabbing the early peaceful time that Fly lives alone over the opening, Westmoreland's adaptation of Susanna Jones novel aims for psychological Thriller fears from the entanglement of Fly with her new friends, but misses the chance for successful doubt,by having the duo act shady from the start, and little room being given to establish why these two relationships are so important to Fly and end up causing her such distress, leading to this flick sadly not being a super Fly.