★★★
“/snorts in Lola”
If I were Ella Balinska, I’d be having a word with my agent. After seeing her major Hollywood career begin with the embarrassing failure of the Charlie’s Angels reboot, she then followed up with an even more dismal flop, the attempted reboot by Netflix of Resident Evil. Now there’s this, which eventually seeped out on Amazon Prime, in a re-cut form, almost three years after premiering at Sundance. This either doubles down on the loony feminist claptrap of Angels, or is a deadpan parody of that kind of nonsense. For the sake of my sanity, and for humanity in general I’m going to presume it’s the latter, and the grade above reflects this. If it was intended as serious social commentary, slice the grade in half, and God help us all.
Cherie (Balinska) is a wannabe lawyer, toiling away in a Los Angeles legal firm, and suffering all the slings and arrows the patriarchy can hurl at a single black mother. In particular, her boss (Gregg) asks her to stand in for him and take a client, Ethan (Asbæk). out to dinner. He’s handsome, charming… and a demonic entity of some kind, who then proceeds to hunt Cherie through the LA night, after telling her, she’ll be free if she can last till dawn. Turns out she’s far from his first victim, and Cherie’s only hope of help is a mysterious woman called the First Lady (an effortlessly movie-stealing Aghdashloo), who knows a thing or two…
It’s a perfectly fine premise, and as well as Aghdashloo, Asbæk also seems to be in on the joke, over-acting enthusiastically and to good effect. There are moments when this is supremely self-aware, such as when Ethan follows Cassie into his house, then turns and gestures to stop the camera from following. Or the 72-point font exhortations to “RUN!” splattered on the screen at appropriate moments. Yet it feels as if Feste doesn’t understand the genre in which she’s operating. Horror is about confronting fears head-on (albeit in a safe environment), not avoiding them. By pointing the camera away, she’s missing the point. For instance, when Ethan reveals his true form, all we see is Cassie’s reaction, and Balinaka’s pulling of faces is nowhere near a good enough performance to sell it.
Despite what I said above, unfortunately, it does appear the film intends its feminist message to be taken seriously, and at times this drowns the entertaining elements in cringe. Peak levels are reached after Cherie is rescued from an obnoxious alpha male at a party by three sisters, who unironically spout nonsense like, “We desperately need the female brain.” The whole movie is spattered with badly-written dialogue and action along similar lines, rather than letting its meaning flow naturally from events as they happen. Such moments derail what was a promising B-movie. Indeed, if it had been more Ethan vs. First Lady, with Cassie reduced to the annoying footnote she deserves to be, it could potentially have been a classic.
Dir: Shana Feste
Star: Ella Balinska, Pilou Asbæk, Clark Gregg, Shohreh Aghdashloo