Much of ‘Eileen’‘s potential goes unutilized, but Anne Hathaway’s glowing star turn shines through reminding us of what we knew she could do and introducing us to something new.
is a more sordid affair than that. Still, it’s a pleasure watching Hathaway do an addled riff onThis is a vein the actor works well in, sultry but with an edge of tenuous pretension. It’s ultimately not very clear who Rebecca actually is, how much of her smoothness is an act. She does messy things in the film, but even then she carries herself with an otherworldly glide that distinguishes her from Eileen’s small-town skitter.
Complementing Hathaway’s grand flounce is McKenzie’s pinched, nervous energy, which she employs a lot more successfully than she did in 2021’s, playing Eileen’s alcoholic retired cop dad, gives good New England bitterness with a touch of the brute poet. , a legendary downtown theater actor who’s been moving toward the center of the indie film world in recent years, delivers a vicious monologue with an admirable lack of vanity.
If only the film better served its ensemble. Instead, it tosses away all that fine work with a snicker. It is possible for a movie to exist solely as a puckish wink and a nudge, a brief diversion designed to deliver a punchline. But the balance is off in; its blitheness is more inept than winningly insouciant. It’s rare to feel this way at a film festival, but I found myself wishing thatwas longer.
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