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A chronicle of the crimes of Ted Bundy, from the perspective of his longtime girlfriend, Elizabeth Kloepfer, who refused to believe the truth about him for years. Extremely Wicked, Shockingly Evil and Vile 2019 review : I think it's a hard line to walk, making a biopic about a genuine real-world serial killer and his wife, having said serial killer take up a pretty massive chunk of that biopic's screentime, and still not have it look as if you're trying to paint said serial killer as sympathetic - when you're a main character, when it's your story, you **are** the protagonist, and when the protagonist is a monster, that's... Yeah, that's a hard line to walk. And I think it's walked here falteringly. There's some very powerful moments, and it is absolutely an intriguing experiment in cinema, but I don't think it made all the best choices. I mean it's not a twist that Ted Bundy did it, 'cause all the world already knows... Well I mean, he's Ted Bundy. He's literally famous for one single thing, and it's being a murderer.

I can still recommend **Extremely Wicked, Shockingly Evil and Vile** to reasonable adults. Not a strong recommendation, but one nonetheless.

_Final rating:★★★ - I liked it. Would personally recommend you give it a go._
**_An interesting approach to the story, but the tone is poorly managed. Worth seeing for Efron's performance, though_**

>_I get very, very angry and indignant. I don't like being locked up for something I didn't do, and I don't like my liberty taken away, and I don't like being treated like an animal, and I don't like people walking around and ogling me like I'm some sort of weirdo, because I'm not._

- Ted Bundy; Interview in Garfield County Jail, Colorado (May 15, 1977)

> _Those of us who are, who have been so much influenced by violence in the media, in particular pornographic viol__ence, are not some kinds of inherent monsters. We are your sons and we are your husbands. And we grew up in regular families._

- Ted Bundy; Interview with James Dobson in Florida State Prison (January 23, 1989; the day before his execution)

> _He would walk me out to my car at two in the morning when my shift was over, and he'd say "Ann please lock your doors, I don't want anything bad to happen to you on the way home"._

- Ann Rule; "Ted Bundy" episode of _Born To Kill?_ (2012)

> _He ruined our lives and he's still part of our lives._

- Belva Kent, mother of victim Debra Jean Kent (February 16, 2005)

>_The reason I wanted to do this film is precisely because it avoided showing the violence. I'm much more interested in making a film about how a serial killer is living his life when he's not killing. To me, that deception and betrayal and manipulation is far scarier. Doing a movie about the fact that people can be in your midst and be killers is more interesting than just doing a movie about the catalogue of violence. Some people have criticised the lack of violence in the film as being disrespectful to the victims, saying we're glorifying a killer. I actually think the opposite, and I'm confused and surprised at the idea that someone showing the worst moment in somebody's existence - the moment where they're being tortured and killed – how showing that means you're not glorifying the killer. I think that's much more disrespectful to the victims of the violent crime. To me, you're glorifying the killer by showing the worst moment._

- Joe Berlinger; "Q&A: _Extremely Wicked_ Director Joe Berlinger Loves Zac Efron, Not Ted Bundy" (Brandon Katz); _Observer_ (May 3, 2019)

Directed by Joe Berlinger immediately after he completed work on _Conversations with a Killer: The Ted Bundy Tapes_, _Extremely Wicked, Shockingly Evil and Vile_ is a strange beast. A serial killer film which doesn't show any serial killing, it has been advertised as told from the perspective of a single character, but that character is one who's barely in the second half of the movie. Tonally, it's also unusual insofar as it seems for about 90% of its runtime to genuinely flirt with the notion that Bundy may have been the victim of a vast conspiracy. In reality, of course, given leeway by a judge out of his depth, granted privileges by a prison system unaware of how dangerous he really was, turned into an ironic folk hero by a media unused to such a charming and humorous breed of criminal, and supported by a cadre of women who judged him too good-looking to be a killer, Bundy was the first celebrity serial killer, and remains the best-known example of such (Charles Manson doesn't count as he wasn't a serial killer). And whilst the film is worth seeing for Zac Efron's performance if nothing else, it's a strangely muted affair, neither ghoulish warts-and-all carnage nor restrained psychological treatise. Telling the story of Bundy from the perspective of a woman who was oblivious to his true nature is an undeniably interesting narrative choice, and had Berlinger stuck to this format, it could have made for a fascinating film. However, the longer it goes on, the more it seems to revel in Bundy's flamboyance, and what begins as an intriguing insider's look at living with a killer soon shifts into an underwhelming courtroom drama, only returning to its original tone in the final (entirely fictional) scene.

The film begins in 1989, with Ted Bundy (Efron) on death row in Florida, still maintaining his innocence, although his execution is imminent. Visited by his former girlfriend, Liz Kendall (Lilly Collins), aka Liz Kloepfer, she demands he confess to his crimes so she can move on with her life. The film then returns to 1969, the night Bundy and Liz first met in a Seattle bar. As a single mother with a low-paying job, Liz is surprised to find this charismatic, handsome, and intelligent law student so interested in her, but interested he is, with the duo quickly falling in love, and Bundy treating both Liz and her daughter Molly extremely well. The film then jumps forward to July 1974. When two women are abducted in broad daylight from a packed Lake Sammamish State Park in Washington, the police issue a sketch of a man who resembles Bundy, saying the suspect may drive a yellow Volkswagen Beetle (which he does). The following year, when he is stopped in Utah for a minor traffic violation, the police find a "kidnap kit" in his car (ropes, handcuffs, ski mask, leather gloves, crowbar etc), and take him into custody, where he is positively identified by Carol DaRonch (Grace Victoria Cox), who had narrowly avoiding being kidnapped in November 1974. Bundy vehemently protests his innocence to Liz, claiming that DaRonch was shown his picture prior to the line-up, and although concerned, she accepts his explanations. After a bench trial, Bundy is found guilty of attempted kidnapping, and sentenced to one to 15 years. When he is subsequently charged with murder in Colorado, although she still believes him to be innocent, Liz starts to drink heavily to help her deal with the stress. However, as police departments across California, Oregon, Washington, Idaho, Utah, Colorado, and Florida start to connect Bundy to a string of recent murders, it becomes harder and harder for Liz to shake the feeling that there's more to her boyfriend than she could ever have imagined.

Very loosely based on Liz Kloepfer's memoir, _The Phantom Prince: My Life With Ted Bundy_ (1981), _Extremely Wicked_ is written by Michael Werwie, and had been on The Black List for several years before it came to the attention of Berlinger. The hook for the original script was that the audience is unaware the character they're watching is in fact Ted Bundy; the film was written as a supposedly fictional story of a young couple whose life is shattered when he is accused of multiple murders, with his real identity only coming as a final act twist. As Berlinger was completing _The Ted Bundy Tapes_, the script was offered to him, and although he found the twist distasteful, he loved the idea of looking at the Bundy story through the eyes of someone who thought him to be innocent. Known as a documentarian for films such as _Paradise Lost: The Child Murders at Robin Hood Hills_ (1996), _Metallica: Some Kind of Monster_ (2004), and _Whitey: United States of America v. James J. Bulger_ (2014), _Extremely Wicked_ is only Berlinger's second scripted film, after the fascinating misfire that was _Book of Shadows: Blair Witch 2_ (2000).

One of the biggest appeals of the movie, of course, is the unexpected casting of Zac Efron as Bundy (Efron also serves as executive producer). Known for his early roles in Disney films such as Kenny Ortega's original _High School Musical_ trilogy, and later comedies such as Nicholas Stoller's _Neighbors_ (2014), Dan Mazer's _Dirty Grandpa_ (2016), and Seth Gordon's _Baywatch_ (2017), aside from Lee Daniels's batshit insane _The Paperboy_ (2012) and Peter Landesman's ensemble piece _Parkland_ (2013), Efron has never really had a chance to show any dramatic chaps. And it has to be said, he's excellent here. Although he doesn't look like Bundy _per se_ (Bundy was good looking, he wasn't _that_ good looking), Efron has the mannerisms down to an absolute tee. If you watch the film after the docu-series, you'll really pick up on the depth of the performance, especially in the scene where the gloating Sheriff of Leon County, Ken Katsaris (Kevin McClatchy), indicts Bundy in front of the assembled media - Efron's every movement and gesture, every glance at the camera, the way he smiles, the way he stands, the tone of his voice, everything is perfect. Of course, Bundy's good looks and charisma were his most formidable weapons, and as a very attractive, very clean-cut, and very charming white man, Efron is able to tap into the fact that one of the most important aspects of the Bundy case was his white privilege (something which has been discussed by everyone from Robert D. Keppel to Ann Rule to Stephen G. Michaud). Bundy proved that evil could fester under an extremely attractive façade, and this gives Efron room to manoeuvre, playing every scene in such a way that the subtext is always apparent even though he never ostensibly lets Bundy's mask slip. Indeed, it's the absence of any obvious monstrousness in the performance which is so unnerving. As Liz, Lily Collins makes less of an impact, but that's because she has less to work with (more on this in a moment). Having said that, however, where Collins is especially good is in conveying how the seemingly never-ending series of accusations are having a cumulative effect; every time we see her, she looks wearier than before.

The film also features a fine supporting cast, all delivering strong, if restrained, performances; Kaya Scodelario as Carole Ann Boone (an old friend of Bundy's who ultimately became his wife and mother to his child), Angela Sarafyan as Joanna (Liz's (fictional) best friend), Haley Joel Osment as Jerry Thompson (Liz's (fictional) co-worker), James Hetfield as Officer Bob Hayward (who arrested Bundy in Utah in 1975), Jeffrey Donovan as John O'Connell (Bundy's attorney in the DaRonch kidnapping case in Utah), Dylan Baker as David Yocom (prosecutor in the DaRonch kidnapping case), Terry Kinney as Det. Mike Fisher (one of the lead investigators working the Colorado murders), and Jim Parsons as Larry Simpson (prosecutor in the Florida double murder trial). The only false note from an acting perspective is John Malkovich, who's spectacularly miscast as Edward Cowart, the presiding judge at Bundy's double-murder trial. Apart from the fact that Malkovich looks nothing like Cowart, he chews every bit of scenery anywhere near him, overacting to a painful degree. He's not quite as bad as he is in _Billions_, where he has the worst Russian accent I've ever heard from an actor not named Gary Oldman, but he's not far off (and I say that as a Malkovich fan).

One of the film's most notable components is that, apart from one brief scene near the end, there is no depiction of violence. Ostensibly this is Liz's story, and although Berlinger loses sense of that in the second half, he does adhere to the principle of not just keeping the violence off-screen, but of never showing us anything leading up to any of the murders, or any of the immediate aftermath. The idea, obviously enough, is to present Bundy not with the 20-20 hindsight of history, but with the same degree of ambiguity with which Liz would have viewed him. Indeed, if by some miracle someone stumbled on the film who knew nothing about Bundy, I'd imagine they would view it as a mystery thriller about a woman whose boyfriend may or may not be a killer. It's an interesting way into the story and seems a genuine attempt to do something more than simply reproduce the salacious details of the crimes, dwelling not on Bundy's sadism and savagery, but on his manipulations of the people in his life. In this sense, I'm sure it will disappoint those hoping for gory excess, scenes of decapitation, and copious necrophilia. Prior to the end, the closest the film really gets to the details of the crimes is a sequence of Bundy and Liz in relationship bliss, with 16mm home movie-style footage playing on-screen, over which we hear news reports about the murders.

Of course, if you're making a film about a serial killer which doesn't feature much in the way of serial killing, you're going to need to fill it with something, and in this sense, Berlinger focuses, at least in the first half, on how a killer can lie and manipulate, coming across as completely normal to all who know him (it's not mentioned in the film, but it is covered in the docu-series that The Church of the Latter-day Saints of Jesus Christ, which Bundy had joined shortly before his 1975 arrest, were so convinced of his innocence, they sent representatives to support him in court and publicly defended his character). With this in mind, the first half isn't really a true crime story so much as it is an examination of the lies a person capable of evil must tell to hide that capability. Berlinger himself has said that the film is about the mechanics of how a person can be "_seduced by someone capable of evil_", and it was his intention that the audience actually like Bundy, as he wanted them to feel disgust with themselves – just like Liz, Berlinger wanted them to be seduced by evil, and feel very uncomfortable with themselves for allowing it to happen.

However, as admirable as this approach is, the film has a lot of problems, some of which arise directly because of the unique entry point into the story. For one thing, because the film depicts Bundy not as we now know him but as his contemporaries saw him, it means we only see the performative side, never the monstrous underbelly. Sure, this means that the film avoids exploitation, but in doing so, it could be accused of sanitisation (to be fair, this is something of a damned if you do, damned if you don't scenario - show the murders and you're exploiting real-life suffering, don't show them and you're hiding the true nature of his crimes). And granted, portraying him as a possibly innocent man is part of the attempt to explain how Liz and the myriad of other women who supported him were essentially partaking in a form of mass self-delusion. However, all the good intentions in the world don't change the fact that the film's Bundy is a lovable rogue who bites his thumb at the system, not a murderer, a man who raped and butchered a 12-year-old child, and who decapitated multiple women and had sex with their corpses.

I understand that Berlinger wants to dramatise the reason that Liz and others were duped, depicting how she could have been blinded by devotion to a man that she thought (correctly, as it turned out) was too good to be true. But the problem is that she herself is never characterised enough for this to work. Indeed, one gets the impression that Berlinger doesn't find her especially interesting on her own – everything we learn about her is predicated on her relationship with Bundy; there's nothing about her life prior to meeting him, and what we learn about her life after he was convicted is primarily fictional. This is true to an even greater degree for Carole Ann Boone, who is introduced out of nowhere as an "old friend" of Bundy's, soon becoming his lover and supporter, and conceiving a child whilst he was on death row. Again, we learn nothing beyond her relevance to his story. Additionally, the focus shift halfway through as the film transitions from Liz as subjective focaliser to a more objectively focalised courtroom drama makes very little tonal sense. It's almost as if Berlinger loses interest in Liz when the sensationalist trial begins and Bundy really comes into his own. This transition reduces Liz to a cycle of watching the trial, crying, doubting his guilt, drinking, watching the trial, crying etc, as she's effectively stripped of what little agency she had in the first half.

Another problem created by telling the story from Liz's perspective is that we learn nothing new about Bundy himself; there's nothing about his childhood, for example, or how he got away with the murders for so long, whether he really loved Liz, or if he genuinely lacked the ability to feel empathy, as Dorothy Otnow Lewis, Professor of Psychiatry at the New York University School of Medicine, would claim in 1988 (something not covered in the film). Along the same lines, we learn nothing whatsoever about any of the victims. This was also a problem in the docu-series, but it's far more pronounced here, and because of this, the decision to put the names of Bundy's known victims on screen at the end of film is unearned, crass, and meaningless, coming as it does at the end of a film in which an A-list movie star has just portrayed their killer, whilst most of them are never even mentioned.

The film also makes some strange changes to documented fact, many of which seem designed to make Bundy more sympathetic. For example, there's no mention of the fact that he tried multiple times to pressure Liz into rough sex, particularly choking. The film also has Liz state that Bundy never raised his voice to her or laid a hand on her, ignoring an incident when he pushed her into a lake during an argument. Another scene sees Bundy forcibly restrained in his cell whilst a dentist takes impressions of his teeth. In reality, the impressions were taken in a dentist chair, and Bundy quite happily allowed the dentist to work, sitting down in the chair without any complaint. The film also shows him continuing to try to contact Liz throughout his incarceration, long after his marriage to Boone. In reality, however, he lost contact with Liz entirely in the early 80s, and there's no evidence he tried to find her, nor did she need to hear him confess in order to "move on". Ironically enough, if the film had stayed focused on Liz, these changes would have made more sense, as the entire film could be argued to be subjective. But because of the focal shift, one cannot make this argument, and such changes become more troubling.

_Extremely Wicked, Shockingly Evil and Vile_ is by no means a bad film. But it could have been so much better. The shift from subjective focalisation to court-room drama makes very little sense, and fundamentally undermines what Berlinger seems to have been trying to do. Much like the media which he is so keen to criticise (both here and in _The Ted Bundy Tapes_), and despite numerous statements to the contrary, he seems as enamoured of Bundy the showman as everyone else was and so many still are. Adopting a fascinating approach, the film initially looks at how evil can hide in plain view, creeping into our lives under the guise of normalcy, hiding monstrousness behind affection. Unfortunately, Berlinger allows this theme to recede into the background as he gives the narrative over to Bundy. And yet, he never manages to say anything new, raising the question of why anything needed to be said at all. If this was supposed to be Liz's story, Berlinger takes his eye off the ball badly, allowing the grandstanding, manipulative Bundy to hog the spotlight. And although the film doesn't sympathise with him, and although the decision not to show any of the murders is commendable, the fact is that like he was with the media of the time, like he has been with so many writers and in so many documentaries and scripted films over the last few decades, once again, Ted Bundy is very much the star of his own show.

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Every year, there are a couple of underrated and/or overlooked movies. Greta is 2019’s first film to belong to both categories. It was definitely overlooked since Hellboy stole the spotlight, and it’s also underrated based on online feedback. Critics being divisive is kind of expected, but audiences are disliking Greta more than the former group, which I find quite surprising. Nevertheless, I enjoyed a lot and that’s mostly due to the outstanding performances of its leads. Isabelle Huppert is incredible as Greta, as expected from such an acclaimed actress. Her character has a very mysterious personality which is well-developed throughout the runtime. Undeniably, her character’s past and decisions turn out to be a bit questionable, in terms of logic. I don’t believe that it’s straight-up rubbish, but I can’t deny that some aspects of her persona lack consistency and sense. Fortunately, it’s nowhere near Serenity‘s level of absurdity. In the end, Huppert elevates her script and delivers a creepily captivating display.

Chloë Grace Moretz is one of the most talented young actresses out there, and I already stated a few years ago that she will be a much-desired star, sooner or later. In this movie, she shows off the subtlety of her expressions at the same time that she proves how amazing her range is. She embodies the charitable and innocent personality of her character like she is, indeed, Frances. Two wonderful performances that become even better due to the palpable chemistry that the two actresses have with each other. With such a short runtime, their interactions are interesting in the beginning, becoming more and more intriguing as time goes by. In addition to these two, Maika Monroe (Erica Penn) surprised the hell out of me! Not only her character doesn’t follow the stereotypical “blonde, dumb friend”, but she really offers an exceptional performance.

The screenplay does have some narrative issues, being most of them related to Greta, as mentioned above. It’s hard to imagine that what happens in the second half of the film could occur in real life as it’s depicted, which instantly kills most movies. However, it’s not as unbelievable as people might think at first, and after some thought, it’s actually pretty reasonable, having in mind the psychological factor. It doesn’t separate itself from the genre’s cliches and it’s quite predictable throughout, even though the ending comes as a nice surprise. It’s the typical B-movie that’s good to see at home on a Sunday afternoon, but if you catch it in the theaters, you won’t regret the money spent.

Greta is 2019’s first underrated and overlooked film. With two extremely captivating performances by Isabelle Huppert and Chloë Grace Moretz, this B-movie truly stands out from the most recent flicks of the same type. The leads’ chemistry carries most of the engaging story, even though a word of praise must go to Maika Monroe for her display. The indisputable narrative problems can either be completely nonsensical or reasonable, at best, depending on what kind of moviegoer you are. There are enough justifications for interpreting the second half events and Huppert‘s character actions as both silly or realistic. I stand on the latter, and I enjoyed myself during the whole runtime. Go see it if you catch it near you. If you don’t, be sure to watch at home.

Rating: B
**_Insubstantial and forgettable, but Huppert makes it moderately entertaining_**

> _The philosopher is right who says that nothing thicker than a knife's blade separates happiness from melancholy; and he goes on to opine that one is twin fellow to the other; and draws from this the conclusion that all extremes of feeling are allied with madness._

- Virginia Woolf; _Orlando_ (1928)

In Claude Chabrol's _Violette Nozière_ (1978), Isabelle Huppert plays a prostitute who contracts syphilis from a client, tells her parents she inherited the disease from them, kills her father, tries to kill her mother, and falsely claims that her father molested her. In Chabrol's _La Cérémonie_ (1995), she plays a woman who shoots an entire family to death as they watch TV. In Michael Haneke's _La Pianiste_ (2001), she plays a pianist who uses broken glass to injure the hand of a fellow professional. In Christophe Honoré's _Ma Mère_ (2004), she plays a woman who commits suicide whilst having sex with her son, timing it so that her death coincides with his orgasm (just don't ask). In Paul Verhoeven's _Elle_ (2016), she plays a rape victim who sets out for revenge on her rapist, all the while indulging in ever more extreme play-rape scenarios with her (married) neighbour. It's quite a CV of depravity (and that's only five of the 120+ films in which she has appeared).

And so we have _Greta_. Written by Ray Wright (_Pulse_; _Case 39_) and Neil Jordan, and directed by Jordan (_The Company of Wolves_; _The Crying Game_; _Interview with the Vampire_; _Michael Collins_), this is schlocky B-movie territory through-and-through, with a completely ridiculous plot and over-the-top final act, all infused with a ludicrous generic campiness. It's one of those films that's so utterly horrendous in almost every way, it's actually kind of enjoyable. Kind of. Very much in the tradition of stalker-thrillers such as Brian De Palma's _Body Double_ (1984), Adrian Lyne's _Fatal Attraction_ (1987), and Barbet Schroeder's _Single White Female_ (1992), although nowhere near as good as any of them, _Greta_ was introduced at the Venice Film Festival as "_a twisted little thriller_". Well, it's certainly twisted, and it's also rather little, but there isn't a huge amount of thrilling going on. Same problem if you want to call it a psychological thriller, as there's precious little psychology. In fact, there's precious little of anything going on, as Jordan seems to have precisely nothing to say; the film simply isn't inherently _about_ anything. Although it is good for a few laughs (and I'm pretty sure not all of them intentional).

Frances McCullen (Chloë Grace Moretz), a young Bostonian, is sharing an apartment in New York with her college friend Erica Penn (Maika Monroe). Having recently lost her mother to cancer, she is all-but-estranged from her workaholic father Chris (the great Canadian Shakespearean actor Colm Feore), with every conversation painfully taut. Returning home from her waitress job, Frances finds a handbag on the subway belonging to Greta Hideg (Huppert). Bringing the bag to Greta's house, the two share tea, as Greta explains her husband died some time ago, and her daughter is living in Paris, leaving her feeling lonely. They strike up a friendship, with each filling an emotional void in the other's life. Although Erica thinks the relationship is "weird", Frances ignores her, and she and Greta grow ever closer. However, as Greta prepares dinner one evening, Frances finds a collection of handbags identical to the one she found on the subway, each labelled with a name and phone number. Deeply concerned, Frances tries to cut ties with Greta, conceding that Erica was correct. Greta, however, has no intentions of allowing Frances to walk out of her life.

_Greta_ is Neil Jordan's eighteenth film, and the eleventh to feature Stephen Rea (here playing a rather useless private detective), and his output has always been patchy; for every classic like _Mona Lisa_ (1986) and _The Crying Game_, there's a _We're No Angels_ (1989) and a _Byzantium_ (2012). Something in which he has always been interested, and which infuses many of his films, is folklore, especially fairy tales. Obvious in films such as _The Company of Wolves_ (1984), _High Spirits_ (1988), _In Dreams_ (1999), and _Ondine_ (2009), it's also to be found just below the surface in everything from _Angel_ (1985) to _The Miracle_ (1991) to _Breakfast on Pluto_ (2005). In _Greta_, Jordan allows his familiarity with the tropes of classic fairy tales to imbue the film's _milieu_, especially in relation to Greta's home, which is so obviously inspired by "Hansel and Gretel" it may as well as have been made of gingerbread, whilst Frances has more than a hint of Little Red Riding Hood's innocence and _naïveté_ about her.

However, this is a Roger Corman-style B-movie before it is anything else. For example, something you see a lot in B-movie thrillers is that when danger is apparent, otherwise intelligent characters must act like complete and utter simpletons; so, upon a barrage of calls and texts from Greta, Frances neither blocks Greta's number nor changes her own; when Greta starts calling the landline, neither Frances nor Erica think to unplug it; although it's never explicitly stated that Greta has a key to the girls' apartment, the fact that she seems to pop in and out at will suggests she does, yet the girls don't change the locks; Frances's big plan to combat Greta is to root through her garbage to try to find something incriminating; when trapped in Greta's house, after trying the door and one window, Frances thinks the best course of action is to flee to the dark cellar. Whether the film intends for this level of stupidity to be humorous or not is beside the point; anyone who has ever seen a movie (any movie) will surely get a chuckle from such appalling writing

The question one must ask, then, is whether or not Jordan is actually in on the joke. It remains somewhat ambiguous, but I would say, for the most part, that he is not, and that he seems to take the material relatively seriously. What is certain, however, is that Huppert is very much aware of the ludicrousness around her. Although _Greta_ is nowhere near the most extreme character she's played, she is clearly having an absolute blast with the part - whether it's delivering her lines as if she's over-rehearsed them, literally dancing across the set as she commits homicide, spitting chewing-gum into Frances's hair, gleefully engaging in some DIY emergency medicine, standing completely motionless in a city street, or overturning a table as if her life depended on it, you rarely see a performance wherein the performer is so joyful; she practically winks at the camera a couple of times. She commits totally to every bonkers moment, which come thick and fast in the last act. Without her exuberant performance, the film would be virtually unwatchable; Moretz is fairly wooden; Monroe's Erica is a blank slate rather than a character; Feore is wasted in only two scenes; and Rea is his usual hang-dog self. Only Huppert pops. But man alive does she pop bigly!

Thematically, the film flirts with a few issues, but never really penetrates any of them. One could certainly read it as a satire of NYPD inefficiency, the ineffectiveness of the justice system, and the misnomer that in a post #MeToo society, it's easier for women to report instances of stalking and harassment and be believed; when Frances makes a formal complaint about Greta, a bored policeman tells her "_it's not harassment if it's in a public place_". Later on, when Frances tries to file a restraining order, she is told it could be months before her case is heard. When Greta is taken into custody at one point, she is released almost immediately, despite clearly being unstable.

From an aesthetic point of view, the film signals its campiness right from the off, opening with Julie London's 1963 cover of "Where Are You?" As you would expect from Jordan, the film looks great. In relation to the production design by Anna Rackard (_Boy Eats Girl_; _Love & Friendship_), the dark brown classical feel of the interior of Greta's house, with delicate sunlight filtering through the curtains, and looking, for all the world, like a 19th century rural French cottage, contrasts sharply with the bright, grey, modernist look of the girls' sleek apartment. Jordan's regular set decorator John Neligan must also be mentioned, as he fills Greta's house with innumerable trinkets whilst leaving the girls' environment relatively unadorned. Also worth mentioning is how Jordan and director of photography Seamus McGarvey (_The Hours_; _We Need to Talk About Kevin_; _Nocturnal Animals_) shoot scenes of Greta watching Frances menacingly from outside the restaurant where she works - placing her dead centre in the frame as she remains completely motionless, in the midst of a flurry of movement and passers-by all around her. It's a very creepy image.

Another really well mounted part of the film is a scene where Greta is following Erica. Although neither Erica nor the audience ever actually see Greta, we know she's there, because she keeps sending Frances picture messages of her pursuit, as Frances is on the phone to Erica telling her to run. The editing by Nick Emerson (_Starred Up_; _Lady Macbeth_; _Daphne_) is especially impressive here, cutting rhythmically between Erica, Frances, and inserts of the picture messages, as the tension mounts. Again, it's a very unsettling scene, and a unique way to stage a chase. Finally, there's the sound design by Stefan Henrix (_The Devil's Double_; _Britannia_), which is noticeable in what it doesn't do; whenever we are outside, there are the typical sounds of a city that you would expect, however, when we move into Greta's house, the sound design is dialled back almost to zero (much quieter than the girls' apartment), creating the impression of the house as somehow separate from the frantic pace of the city right outside the door.

On the other hand, the aesthetic very much lets the film down in terms of location. Although set in New York, it was shot primarily in Dublin, with some pick-ups in Toronto, and it shows. Granted, I live in Dublin and was able to pick out most of the locations in a way someone not from here wouldn't. But irrespective of that, the filmmakers seem to have made little effort to disguise the location; from the sequence of the traffic lights to the side of the road on which the cars drive to the street signs. It's very distracting, and really wouldn't have required that much effort to fix. This is especially irritating insofar as the location's significance is built into the script (it's mentioned several times that if Frances were from New York she would never have picked up the bag). So the fact that so little effort has gone into actually making the film look like it was shot in New York is disappointing.

Unfortunately, there are a myriad of other problems. For starters, there's the script, which never feels like anything other than pure genre fare. Yes, it's to be lauded for using women in the role of both stalker and stalked, when stalker-thrillers have traditionally been about male anxiety. However, it doesn't take this trope anywhere, as if simply having two women at the centre is enough, and doesn't need further comment. When _clichéd_ issues like vulnerability, loneliness, and obsession are presented in a _clichéd_ manner, they don't cease to be _clichéd_ just because they've been given an undercoat of pseudo-feminism. The opportunity to engage with gender politics is right there, but is disappointingly avoided.

Another problem with the script is that none of the characters are given much in the way of interiority or psychological verisimilitude. Frances and Greta have some rudimentary backstory, but it isn't enough to compensate for their lack of psychology. There's little emotional complexity anywhere in the film, no real sense of any of the characters having an unconscious. And whilst the ludicrousness of Huppert's performance distracts from this and transcends the limitations of the writing, Moretz remains unable to break free. In this sense, she comes across like a cog in the screenwriters' machinery, only behaving in such and such a way because the plot dictates it, with scene after perfunctory scene doing only enough to get us to the next scene and nothing else. Neither Moretz nor Monroe are able to escape the generic moulds of their character-types; the bright-eyed and innocent newbie whose kindness will be her downfall, and the tough friend who seems churlish and cynical but who ultimately proves to have been right all along.

_Greta_ is a rote stalker-thriller that looks great, but offers nothing we haven't seen before; it's essentially a potboiler in a nice suit. No different from any of the late 80s/early 90s obsession thrillers, the plot is plodding and uninspired and the characters are underwritten. When all is said and done, it's hard to really figure out what Jordan was aiming for with this. You can't call it a psychological thriller about obsession and loneliness, because it does nothing with these themes, but you can't call it a self-aware and campy B-movie, because Jordan doesn't seem to be fully cognisant that it's campy schlock. Huppert's batshit insane performance elevates the material significantly, but even she can't paper over all the cracks. It's been 23 years since Jordan has made anything of real significance, and on the evidence of his last few films, it's going to be a while before he does so again.
Decent enough thriller but not especially memorable, though both Isabelle Huppert and Chloe Grace Moretz turned in fine performances. It's probably fine as a rental.

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Title : Under the Tree
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Under the Tree crew : Monika Lenczewska, Hafsteinn Gunnar Sigurðsson, Hafsteinn Gunnar Sigurðsson, Kristján Loðmfjörð, Huldar Breiðfjörð, Huldar Breiðfjörð, Snorri Freyr Hilmarsson, Daníel Bjarnason
Under the Tree release date : 23 July 19 8 9
Under the Tree runtime : 89 Minutes
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