Beneath the middlebrow situational conventionality of it all, there’s a core of raw feeling and truth to it.
, is exactly that kind of movie. It’s an addiction drama that has scenes you can bicker with, a few contrivances, and other peccadilloes. Yet beneath the middlebrow situational conventionality, there’s a core of raw feeling and truth to it. The movie creates a highly specific situation — about its heroine, and about an entire family — that it carries right through. It’s not a melodrama about scraping bottom.
A scene or two later, she and her future sister-in-law, Molly , and Molly’s husband, Jesse , are driving into New York City for a shopping expedition and possible theater outing. Ally is at the wheel, and as their plans are forming she takes out her phone to glance, for a moment, at a map. It’s the wrong moment. A bulldozer on a road-construction site to her left lifts its shovel into the highway, and the next thing you know…well, we don’t see the accident, but we cut to its aftermath.
Florence Pugh doesn’t distance herself, and doesn’t do overwrought acting out either. She brings Ally’s emotions right to us through the hypnotic blur of her confusion. Ally’s life has become a limbo, and Pugh nails the considerable acting feat of getting us to connect to that. Early on, Ally follows a self-hair-trimming tutorial to chop her own hair into a shorter, not-insane-looking, but still rather telling cut — a martyr’s bob.
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