Based on the renowned novel many of us read in high school or college, the movie retains some of the book’s characters and key events, though it modifies them to create a heightened narrative endpoint.
Her incredible performance recalls her Oscar-nominated work in another sea-related drama, 1996’s “Breaking the Waves.”
Lapses in logic and holes in the setup persist until the movie’s end, but Ms. Wilde’s central theme — how male placation and female subjugation are hardwired across society — maintains its core of truth.
Watch in the serene knowledge that nothing too awful will happen to these beloved characters, nothing too life-altering, just a few annoyances along the way to a relatively happy ending.
The film is widely considered to be an early and key example of “cinema du look,” an undeclared movement that emphasized reckless youth, high and low culture, and vibrant, eye-popping imagery.
Director Terry Zwigoff and his fellow screenwriter Daniel Clowes (who wrote the graphic novel on which the movie is based) hit on so many moments of truth, such as how teens subtly one up each other to see who can say the most offensive or dismissive comment, and how a young person can play a favorite song over and over again.
As with most of the Spanish director’s work, a 1972 film enjoying a revival at the Film Forum winningly ridicules institutions and social hypocrisies.
In “Emily the Criminal,” Ms. Plaza’s wide, impatient, searching eyes approach Bette Davis-level expressiveness.