Wyatt Garfield/Sundance Institute
MOVIE REVIEW
Resurrection (2022)
At first glance, “Resurrection” looks to be a thriller about a woman confronting the reappearance of her former abuser. The film calls her sanity into question in a misogynistic manner, then boasts a conceited genre-shifting climax that is more noxious than clever. Following “Here Before,” “Encounter,” “False Positive” et al., this gaslighting-as-narrative-device trope is now a very troublesome trend.
David Koskas/Lucky Red
MOVIE REVIEW
Grace of Monaco (2014)
Future scholars mapping the course of the celebrity biopic as the genre headed for the rocks will immerse themselves in “Diana,” “Rush,” “The Fifth Estate” and “Grace of Monaco,” and be forced to concede — before they pass out — that the one with Nicole Kidman as Grace Kelly bucked the trend — just not in ways that made the slightest difference. Olivier Dahan’s film limits itself to a brief window of Kelly’s time as fairy-tale princess, sparing audiences from the dreaded template of rise and fall; and it puts its subject in a functioning historical context, rather than just fetishizing her inner pain. It even features a performance you can’t look away from, although that happens to be Tim Roth’s portrayal of Prince Rainier as a monarch chafing under the weight of history, who might at any moment stab Charles de Gaulle with a fish knife.
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