Tag Archives: Connie Britton

SKY CINEMA REVIEW: PROMISING YOUNG WOMAN (2020)

SKY CINEMA REVIEW: PROMISING YOUNG WOMAN (2020)

Directed by: Emerald Fennell

Produced by: Margot Robbie, Josey McNamara, Tom Ackerley, Ben Browning, Ashley Fox, Emerald Fennell, etc.

Written by: Emerald Fennell

Cast: Carey Mulligan, Bo Burnham, Alison Brie, Clancy Brown, Jennifer Coolidge, Laverne Cox, Connie Britton, etc.

Music by: Anthony Willis

Cinematography: Benjamin Kračun

*** CONTAINS MILD SPOILERS ***



As the recent awards garnered upon Emerald Fennell’s brilliant screenplay for Promising Young Woman (2020) testify, Fennell is a major talent. She has acted in TV shows such as Call the Midwife and The Crown, as well as writing and producing the second series of Killing Eve. Not only is she an excellent actress, writer, director and producer, but she is also now an Oscar and BAFTA winner at the age of thirty-five. I am Jack’s raging envy!

But, is Promising Young Woman (2020) any good, and does it deserve these awards for best original screenplay? Well, for starters the film is not particularly original in terms of genre. It is what I would class as a B-movie revenge thriller at heart with A-list credentials. Like cinema classics such as Silence of the Lambs (1991) and Seven (1995), plus Tarantino’s Kill Bill (2003) films and the recent arthouse assassin thriller, You Were Never Really Here (2018), Promising Young Woman (2020) takes a well-worn subject matter within the crime genre and intelligently delivers a narrative experience which transcends such familiarity. Indeed, in the era of #MeToo, Fennell’s directorial debut updates and surpasses both intellectually and emotionally, similar themed films such as Death Wish (1974) and I Spit on Your Grave (1978).



Promising Young Woman (2020) starts with one of the best opening scenes you’re likely to see in a long time. Here we meet Cassie Thomas, drunk and unable to stand, in a nightclub. Thankfully, there are “kind” gentlemen waiting to assist her, one of them being Adam Brody’s, Jerry. But instead of taking her home he takes her to his place and tries to take advantage of her inebriated state. I won’t spoil what happens next but safe to say that Cassie has other plans for Jerry. As the expertly plotted film progresses the story reveals Cassie has a long standing desire to wreak revenge on those individuals who brought tragedy to the life of her former medical school classmate and friend, Nina. A college dropout and working in a coffee shop, Cassie finds her life at a pitstop as she cannot move past what occurred to her friend. A budding romance with Bo Burnham’s charming Doctor threatens to pacify Cassie, but Fennell’s twisting plot soon puts Cassie on a deadly path right to the door of those who ruined her and, most significantly, Nina’s life.

The first three-quarters of Promising Young Woman (2020) are a witty, frightening and absolutely spellbinding exploration of negative masculine behaviour, gender politics and institutional corruption when it comes to cases of gang rape. No one is safe from Emerald Fennell’s sharpened pen and Cassie’s clever plan. As Cassie, Carey Mulligan gives a wonderfully subtle performance of a deeply pained and grieving individual. One thinks that Margot Robbie, who co-produced the film, would have made Cassie more zinging and wise-cracking. Mulligan gets it just right in terms of magnetic allure, strong personality and hidden vulnerability. It’s a shame that Fennell kind of throws Cassie under the narrative bus at the end. Don’t get me wrong the denouement ties all the previous scenes together, but I don’t think Cassie deserved such a messy fate. Unlike Fennell herself though. She deserves all the current success and that which is coming to her in the future.

Mark: 8.5 out of 11


NETFLIX TV REVIEW – DIRTY JOHN (2018)

NETFLIX TV REVIEW – DIRTY JOHN (2018)

Created by: Alexandra Cunningham

Based on articles and podcast: Dirty John by Christopher Goffard

Directed by: Jeffrey Reiner

Writers: Alexandra Cunningham, Christopher Goffard, Sinead Daly, Lex Edness, Kevin J. Hynes, Evan Wright, Diana Son, etc.

Producer(s): Melinda Whitaker, Christopher Goffard, Nan Bernstein Freed, Jonathan Talbert, etc.

Cast: Connie Britton, Eric Bana, Juno Temple, Julia Garner, Jean Smart, Shea Whigham, Alan Ruck, Kevin Zegers, etc.

Composer: Mark Mothersbaugh

Original networks: Bravo (USA) and Netflix (UK)



Such is the veracious appetite journalists, writers, filmmakers, TV producers, podcasters and the audience have for true crime stories, it’s no surprise that the life of con-man, John Meehan, and his victims, was turned into a thrilling eight-part drama shown on Bravo and Netflix respectively. After decades of cons, fakery, impersonations, drug addiction, robberies, lawsuits, insurance scams, harassment, spying, stalking and consistent lying, Meehan’s criminal activities came to an end as recently as 2016. Meehan had been trained in the “art” of the con by his father from a young age. Alas, his nature could not, unlike his sister, overcome such spurious nurture and Meehan was destined for a life of crime. They say truth is stranger than fiction and that is very much the case here with some of his venomous antics quite unbelievable. However, Meehan must have had so much charm and confidence to trick the many women he deceived, his character sadly stands as a heinous example of toxic masculinity.

Eric Bana portrays John Meehan in Dirty John (2018). Bana is an excellent actor and arguably, based on his breakthrough performance in the film, Chopper (2000), one who I thought would achieve possibly more critical acclaim. His career is full of sterling work though and his handsome looks and rugged charisma are perfectly utilised as John Meehan. Indeed, when we first encounter him he is meeting Debra Newell (Connie Britton) for a date. After a sticky start the romance develops very quickly. Debra is a wealthy interior designer with her own business, and her character is exceptionally kind, but somewhat gullible. Even when her kids, Veronica (Juno Temple) and Terra (Julia Garner), warn her that something is rotten about John, her desire for John overcome any doubts she may harbour. As Debra, Connie Britton gives a brilliant representation of a woman who is desperate for love and companionship. Having said that, Juno Temple steals every scene as the mouthy daughter, Ronnie, someone who is certainly way more suspicious of John than her good-natured mother.



Structured around John and Debra’s developing romance are flashbacks to John’s prior relationships and crimes. While he is shown to be a really bad man, context is given during scenes from his youth. His father, portrayed by the excellent character actor, Shea Whigham, has young John eating a Taco with glass placed in it, so he can scam the restaurant. Such twisted examples of dire parenting give reason to John’s later behaviour, however, they should not excuse his actions in adulthood. They also explain John’s dependency on narcotics. This addiction to opiates, as well as a sociopathic desire to lie and cheat, drive the character and narrative powerfully. In the scenes where Debra, having incredibly given John another chance, helps him go cold turkey, Bana’s acting levels are most impressive.

As the drama proceeds and Debra and her daughters begin to discover the crimes of John’s past they themselves become targets of his malevolence. John is a beast Debra has alas invited into her life and one feels so much empathy for her and his other victims. Moreover, even when cornered and accused John Meehan is at his most dangerous. He often savagely attacked his accusers and their family members with severe vengeance. But, the scariest part for me was that he was “qualified” to be a Certified Registered Nurse Anaesthetist; a profession he exploited to rob and feed his drug addiction. Ultimately, I can recommend Dirty John (2018), to those who enjoy absorbing crime dramas. Some shows, with such “real life” narratives, can be exploitational in tone. However, this is a high quality production with excellent acting, writing and directing throughout. It really was edge-of-your-seat viewing, with Eric Bana’s multi-dimensional acting delivering a true monster for the millennium.

Mark: 8.5 out of 11