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54/100

Spoilers ahoy.

Managed to see this with almost zero foreknowledge (even to the minuscule effect of "there's something that could be spoiled"; I've already necessarily ruined it for you, alas) and so got to experience its WTF gearshift in a pure and thrilling way that made me cackle hard, out of delighted surprise and also because I'd made a note, only perhaps two or three minutes earlier, that read "Way too obvious where we're headed." In truth, Eileen never succeeded in persuading me to give a damn about its title character, whose personality is too flatly stunted to be of much interest; the movie comes to life exclusively via Anne Hathaway's playfully and knowingly anachronistic performance, which does a surprisingly credible job of channeling Rita Hayworth in Gilda by way of Veronica Lake in Sullivan's Travels. Rebecca's abrupt transformation into a full-blown psycho—revealed with strange, jarring intimacy, such that Eileen has to process what she's just casually been told while simultaneously shutting her libido down from overdrive; poor thing's been sandbagged and rejected in one huskily blurted confession—promises a truly berserk third act, and is probably my favorite single moment* of the movie year 2023. Throw in Marin Ireland, about whom I've been raving since well before most people had heard of her, and it's kind of amazing what a letdown the rest of Eileen nonetheless turns out to be. Hathaway gets neutered, Ireland delivers a virtuoso but painfully overwritten monologue, and Thomasin McKenzie (who needs to stay away from wide-eyed naïfs) just shifts into a different register of flatly stunted. Not at all the crazy U-turn I'd eagerly anticipated. But I got that surge of adrenaline, plus some primo Annie, and that's enough to ensure that my bitter disappointment is tempered with a little warm affection. 

* This is why I make an admittedly vague distinction, in the Skandies, between "scene" and "moment." I'm talking about a few glorious seconds; the scene of which they're a part might run 12 minutes if we include the basement stuff, which we probably should since it's continuous. 

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Comments

Motyka

I generally liked the movie and legitimately did not see that plot turn coming (even though I had known beforehand that *something* unexpected had been going to happen) but ultimately found the film's supposed craziness to be overstated, particularly due to the abrupt ending. (Also, what was the significance of the two brief shots when the film suddenly shifted away from Eileen's perspective?)

Devan Suber

It definitely feels like they couldn't figure out how to get an interior monologue to come across on screen. Never managed to get a handle on Eileen herself to the point that the gearshift would've made a fascinating movie all itself. I can't tell if it needed to be longer to deal with the third act or just shift things entirely.