Eileen

Oldroyd lulled me into a false sense of expectation and then dropped a bomb into his movie that completely shifted the ground under my feet. I can't remember the last time I was so energized by a surprise.

Rippling with sly humor and a bold command of the tropes of classic Hitchcockian suspense, this is a twisty and beguiling original, led by contrasting but expertly synced performances from Thomasin McKenzie and Anne Hathaway.

Eileen is indeed a weird little movie, but it leaves a big impact.

Eileen is a slender drama distinguished by strong performances.

Overall, Eileen is a pretty close adaptation of the mood of Moshfegh’s stories, even though some lost elements dull the author’s unique and singular voice. If the script meanders its way toward its unsettling end, it still manages to stay compelling.

William Oldroyd’s Lady Macbeth follow-up Eileen is lacking in a considered formal approach but strives to make up for this misgiving with a script that offers its talented ensemble an unexpected mix of sensual longing and perverse thrills. While this clash of tones doesn’t entirely gel, part of its appeal is the shock of such contrasts.

Oldroyd never seems entirely sure just how pulpy and weird his material is, unable to decide how far to push, the odd stylistic flourish and burst of lurid music ultimately feeling incongruous in a film that’s otherwise visually quiet.

Eileen é um filme muito charmoso. Tem a estética clássica, vai deliciosamente fazendo a trama evoluir junto com sua protagonista, que descobre não apenas uma amizade mas uma forma de desenvolver seu lado feminino, sua relação com o trabalho, com o pai, com olhares que trocacom os rapazes. Se as cenas fantasiadas parecem meio forçadas, a trama a justifica, de modo que é uma excelente construção de personagem. É uma pena queos personagens secundários não estejam à altura, que parece que poderiam render mais.

Despite two good and enigmatic performances, 'Eileen' is a psychological thriller that isn't convincing because of how it unites its ideas, resulting in an extremely hasty and anticlimactic outcome. The film, which addresses the repression that a young girl experiences both from herself and from those around her, does not fully consider its duration and takes too long to establish its thesis, and then proceeds to radically transform its protagonist in a matter of minutes without the development required, leaving a certain feeling of dissatisfaction. On the other hand, how the story twists the romantic/sexual/relationship presented here, the mystery tone, the expectation that something terrible is about to happen, and the intoxicating melancholy that its images radiate are enough to draw us into the disturbing world of 'Eileen.'

Anne Hathaway and Thomasin McKenzie headline this otherwise forgettable 60s set noir thriller based on the 2015 novel of the same name about a young woman who forms an unexpectedly dangerous bond with an older woman she meets working at her local correctional facility, while also navigating her broken home life with her abusive alcoholic father (Shea Wigham). The film is a rather slow burn, and the period atmosphere is fun to watch at times, but it's all in service of a relatively straightforward story that plays it relatively safe for the most part. And while Hathaway and McKenzie both make for a compelling onscreen duo at times, it simply can't overcome an overall underwhelming execution and ending that fizzles things out rather disappointingly.

Cinematography deserves a mention, but otherwise I think this movie fell a bit short on what it was trying to be. I thought it was kinda boring.

Not sure what the author was going for but it had little appeal to me. A low esteem girl living out sexual & homicidal fantasies didn't appeal to me.