Female Film Critics 24/375
Months after Guillermo del Toro’s retelling of Mary Shelley’s Frankenstein, here comes The Bride!, a kinetic yet scattershot story reimagining the creature and his beloved as a 1930s couple on the run, a la Bonnie and Clyde. Writer-director Maggie Gyllenhaal has a lot she wants to say in this messy mashup of monsters, mobsters, and even musicals, but it doesn’t all come through loud and clear.
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If you thought we as a society were over trashing big artistic swings by female artists, reaction to writer/director Maggie Gyllenhaal’s The Bride! will disabuse you of that notion. Though by no means perfect, the new gothic romance centering on and reimagining Frankenstein’s bride is visually stunning, fearlessly kinetic and inventive, and worth celebrating.
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Frankenstein’s monster is lonely. If he’s going to live, he wants to live life to the fullest…in EVERY way…wink, wink. He needs someone who’s like him in mind and body. Abby someone. Abby Normal. Or in this case, Ida, and he wants her to be his (The) Bride! The Bride is a very meta mash up of monsters, mayhem, murder, molls, massive amounts of makeup, meddling men, and the marvelous mind of Maggie Gyllenhaal which all adds up to maniacal movie magic. .
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Film fans will have to wait longer than originally planned to see two-time Oscar nominee Maggie Gyllenhaal’s The Bride, an adaptation of Mary Shelley’s Frankenstein. Gyllenhaal is writing and directing her steampunk take on The Bride as the follow-up to her 2021 Academy Award-nominated Netflix drama The Lost Daughter. Ahead of the 2025 CinemaCon, Warner Bros. announced it is moving The Bride from a Sept. 26, 2025 release date, to March 6, 2026, a springtime slot that has worked well for the studio’s previous event movies.
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The cast of Amsterdam reads like an Irwin Allen disaster picture lineup…Christian Bale, Margot Robbie, John David Washington, Rami Malek, Robert DeNiro, Anya Taylor-Joy, Mike Myers, Michael Shannon, Chris Rock, Zoe Saldana, Ed Begley, Jr, Timothy Olyfant and Taylor Swift…and like the Poseidon Adventure, this film is a sinking ship that barely manages to stay afloat.
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Thor: Love and Thunder has the verve of a glam-rock musical, full of Guns N’ Roses riffs, bursts of lightning, and technicolor travels along the Rainbow Bridge. But its core is the tender idea that we all crave and need love, even if it hurts to lose it. Taika Waititi, who blasted new energy and humor into the staid superhero with 2017’s Thor: Ragnarok, returns at the helm of this often-loopy vessel and still loves absurdity. Yet the humor works better here.
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This saga begins as Carroll Shelby (Matt Damon) is on the last leg of the 1959 Le Mans when, suddenly, both his car and he catch fire. After a quick fix, he’s back on the track, becoming the first American to win Le Mans. But that will be Carroll Shelby’s last race.
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Vice is a film about Dick Cheney and his partner in crime Lynne, to be sure, but it’s also about the way we talk about history, how we know what we know, how we fill in the gaps in our partial knowledge with our own fictions, and who has a voice in creating historical narratives.
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Idiosyncratic writer/director Adam McKay has crafted a devastating portrait of Dick Chaney, opening with TV footage of the then-Vice President’s autocratic assumption of White House power as Manhattan’s Twin Towers burned on 9/11.
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Vice presents a wild, irreverent ride through Dick Cheney’s life. Writer/director Adam McKay tackles Dick Cheney’s public and private life head on in Vice, a title with provocative insinuations far beyond Cheney’s years 2001 to 2009 as President’s George W. Bush’s Vice President. After introductory, amusing text on screen, the story proper begins in Caspar, Wyoming, in 1963 with a speedy, loud opening scene of Dick stopped for drunk driving.
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