Katharine Hepburn's face appearing on a horse still blows my mind.
The miracle of this movie is the way that Bright’s gallows humour and Witherspoon’s incredible performance stop the parade of horrific events from ever feeling depressing or overwhelming; Vanessa is a match for anyone and anything, whether it’s a serial killer, a prejudiced cop, or the toughest girl in prison.
I wrote about this wonderful, ridiculous movie for the Solute!
This experimental hybrid documentary / biopic tries a lot of things, including having the film's composer (Cosey Fanni Tutti of Throbbing Gristle) appear on-screen, and cutting from talking heads to actors playing them in dramatisations... Stuff I haven't really seen before, and a nice nod to Delia Derbyshire's own forward-thinking, experimental methods. The way everything fits together felt a little scrappy and occasionally pretentious to me though, always interesting but not always satisfying. Admirably ambitious but not always entirely successful, I guess? I dunno, I guess I'm just trying to justify why I liked it rather than loving it, I'm very tired.
Linda Fiorentino is fantastic, otherwise this is a great example of why neo-noir hardly ever works as well for me as original flavour noir. The darkness is scaled up to the point where every character is loathsome, even the ones who are mostly innocent; the running time is scaled up to the point where this feels like it goes on forever. I was into this for the first hour or so but it really started to try my patience.