Female Film Critics 24/375
Together, a predominantly two-person show, hits all the dissonant notes of the pandemic. It is a brutal wake-up call to factually and accurately recall the complicated layers of what this past year-and-a-half was like, but it does so with riveting edgy humor that slices through you to make you chuckle, acknowledging its reality.
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I was not ready for the emotional roller coaster that is Together. It is funny and sad, sometimes in the same breath. It is a film so fresh and raw that it almost feels like you shouldn’t be watching it, and in more ways than one. It’s absolutely stupendous, a small — so very small — film that is hugely moving…
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Trust Stephen Daldry to direct an efficient and profound film set in the first year of the pandemic. In Together, Daldry manipulates his cameras to vary the single set required by a lockdown. He wrings from the actors a variety of uses of Dennis Kelly’s script — now sexy banter, now rapid-fire fusillades of anger, now woebegone exhaustion.
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Better suited for a TV mini-series, this overly long, episodic sequel, nevertheless, delivers on the gross, supernatural terror. Picking up 27 years after his last appearance in Derry, Maine, the creepy, shape-shifting clown called Pennywise is back.
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The line of dialogue – “You’re always sorry and there’s always a speech, but nobody cares anymore” – pretty well sums up the entire enterprise. Dark Phoenix is a fizzle, causing the iconic, stand-alone series to crash-and-burn. Will the heroic mutants now join the Marvel Cinematic Universe? Who knows? Who cares?
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If you haven’t seen M. Night Shyamalan’s two previous films – Unbreakable (2000) and Split (2017) – you may be a little lost because this conclusion to his trilogy brings together the main characters from both films.
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With the help of arbitrary deadlines, handy coincidences and characters explaining comic book tropes, Shyamalan attempts a series of elaborate plot twists – of course – that he doesn’t quite pull off cleanly but that are still pretty nifty and unveil some interesting surprises. Herculean performances by McAvoy, Willis and Jackson keep “Glass” watchable even when the narrative gets murky.
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